Contemporary Art Part II

con temporary art 12 & 13 november 2 0 0 9 new york

PART II CONTEMPORARY ART 13

NOVE MBER

2009

10 a m & 2 p m

NE W YO RK

LOTS 101- 3 6 4 Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 12pm SESSION I

10 a m

Lots 101-24 5

101

IVĂ N NAVARRO

b. 1972

Large Wall Hole, 2004 Fluorescent light tubes and fixtures, mirrors and painted wooden frame. 54 x 54 1/8 x 3 1/8 in. (137.2 x 137.5 x 7.9 cm). This work is from an edition of three plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Roebling Hall, New York EXHIBITED Hartford (Connecticut), 960 Main Street, exh.05.05.06103, October 14 -

December 5, 2005

10 2

STERLING RUBY

b. 1972

Untitled, 2006 Glazed ceramic. 8 1/2 x 17 1/2 x 11 in. (21.6 x 44.5 x 27.9 cm). Inscribed “SR 06” on the underside.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection

10 3

MARK GROTJAHN

b. 1968

Untitled (colored rainbow in black flower), 2004 Colored pencil and graphite on paper. 23 7/8 x 19 in. (60.6 x 48.3 cm). Signed, titled and dated “Mark Grotjahn Untitled colored rainbow in black flower 2004” on paper affixed to the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Blum & Poe, Los Angeles

10 4

JOHN ARMLEDER

b. 1948

J Painting, 2005 Acrylic, gesso, vinylique gouache and graphite on canvas. 24 1/8 x 24 1/8 in.

This work is from the artist’s ongoing Dot Painting series. J Painting is

(61.3 x 61.3 cm). Signed, titled and dated “John Armleder J Painting 2005” on

one of only two “white on white” dot paintings smaller than a meter

the overlap.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE World House Gallery, Middlebury (Connecticut)

square that the artist has ever created.

10 5

JOHN McCRACKEN

b. 1934

Molecule, 1994 Polyester resin and fiberglass on plywood. 14 1/4 x 15 7/8 x 16 in. (36.2 x 40.3 x 40.6 cm).

Inscribed “JMcCracken Molecule 1994” on the underside.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist

10 6

DASH SNOW

1981 - 2009

EAT SHIT AND DIE, 2005 Fujichrome Crystal Archive print mounted on Plexiglas, found chair and vintage record player, US dollar bill, plastic mask, adhesive, “cocaine” and mirror.

45 3/4 x 33 1/2 x 19 1/2 in. (116.2 x 85.1 x 49.5 cm) as installed.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Rivington Arms, New York EXHIBITED New York, Whitney Museum of American Art, Whitney Biennial 2006: Day

for Night, March 2 - May 28, 2006; Portland Arts Center, The Inside Game-a selection from PDX art collections, September 7 - October 1, 2006 LITERATURE W. Sherman, “Dash Snow’s Creative Universe,” Animal (online content),

July 14, 2009 (illustrated); A. Goldstein, M. Hoskins, Dash Snow, Art We Love (online content), August 5, 2009

107

MATTHEW BARNEY

b. 1967

Cremaster 4: Loughton Ram, 1994 C-print in the artist’s self-lubricating plastic frame. 33 1/2 x 23 1/2 x 1 1/2 in.

(85.1 x 59.7 x 3.8 cm). Signed “Matthew Barney” on the reverse. This work is from an edition of six plus one artist’s proof.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Regen Projects, Los Angeles; Collection Lambert, Geneva

Contemporary Art, Veronica’s Revenge, November 16, 2000 - March 4, 2001; Cologne,

EXHIBITED New York, Whitney Museum of American Art, 1995 Biennial Exhibition, March

Museum Ludwig, June 6 - September 1, 2002; Musée d’Art Moderne de la Ville de Paris,

15 - June 25, 1995 (another example exhibited); Rotterdam, Museum Boijmans Van

October 10, 2002 - January 5, 2003; New York, Solomon R. Guggenheim Museum, Matthew

Beuningen, October 21, 1995 - January 1, 1996; Bordeaux, Musée d’Art Contemporain,

Barney: The CREMASTER Cycle, February 21 - June 4, 2003 (another example exhibited)

January 26 - April 8, 1996; Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL,

LITERATURE M. Arzenton, ed., Matthew Barney Cremaster 4, Cologne, 1995, n.p.

May 17 - June 23, 1996 (another example exhibited); Munich, Sammlung Goetz, Matthew

(illustrated); N. Wakefield, R. Flood, Matthew Barney: PACE CAR for the HUBRIS PILL,

Barney-Tony Oursler-Jeff Wall, July 22, 1996 - January 31, 1997 (another example exhibited);

Rotterdam, 1995, n.p. (illustrated); I. Goetz, C. Meyer-Stoll, Matthew Barney-Tony

Deichtorhallen Hamburg, Emotion: Young British and American Art from the Goetz Collection,

Oursler-Jeff Wall, Hamburg, 1996, p. 18 (illustrated); Z. Felix, A. Sievert, Emotion: Young

October 30 - January 17, 1999 (another example exhibited); Skovvej (Denmark), Arken,

British and American Art from the Goetz Collection, Ostfildern-Ruit, 1998, p. 95 (illustrated);

Museum for Moderne Kunst, June 3 - September 3, 2000; Sydney, Museum of

N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 331 (illustrated)

10 8

SHARON CORE

b. 1965

Cream Soups, 2003 C-print mounted to aluminum with Plexiglas face. 29 3/4 x 37 in. (75.6 x 94 cm).

This work is from an edition of five.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Bellwether Gallery, New York EXHIBITED New York, Bellwether Gallery, Thiebauds, February 13, 2004 - March 22, 2004 LITERATURE K. Johnson, “Sharon Core ‘Thiebauds,’” The New York Times, March 5,

2004; C. Howard, “Thiebauds Bellwether,” The Brooklyn Rail (online content), March 2004

10 9

JIM LAMBIE

b. 1964

Breakdown, 2001 Vinyl record with yarn and glue. 12 in. (30.5 cm) diameter. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Jack Hanley Gallery , San Francisco EXHIBITED San Francisco, Jack Hanley Gallery, Blank Generation, March 1 - 31, 2001

(Reverse)

110

GREGORY CREWDSON

b. 1962

Untitled (butterflies and ball of larvae), 1990 C-print. 19 7/8 x 24 in. (50.5 x 61 cm) paper size. Signed “Gregory Crewdson” and numbered of 10 on the reverse. This work is from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Blum Helman Warehouse, New York

111

DAVID L ACHAPELLE

b. 1964

Cathedral, 2007 C-print. 23 3/4 x 31 5/8 in. (60.3 x 80.3 cm). Signed “David LaChapelle” on a label adhered to the reverse. This work is from an edition of 10.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York EXHIBITED New York, Tony Shafrazi Gallery, David LaChapelle: Awakened, February 24

- August 3, 2007 (another example exhibited) LITERATURE M. Barone, “David LaChapelle,” Artnet Magazine (online content), March

3, 2007 (illustrated); S. Kessler, “David LaChapelle: Renaissance Man,” Whitewall, Issue 15, Fall 2009, p. 95 (illustrated)

112

GERHARD RICHTER

b. 1932

Untitled (20.2.96), 1996 Oil on color photograph. 4 x 6 in. (10.2 x 15.2 cm). Signed and dated “20.2.96-Richter” lower right and again on the reverse of the backing board.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Wako Works of Art, Tokyo; Barbara Mathes Gallery, New York;

Private Collection

113

LOUISE LAWLER

b. 1947

Untitled (1950-51), 1987 Cibachrome. 29 1/8 x 39 in. (74 x 99.1 cm). Signed “Louise A. Lawler” on a label adhered to the reverse. This work is from an edition of five.

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Metro Pictures, New York; Yvon Lambert, Paris; Galería Pepe Cobo, Sevilla EXHIBITED Kassel, documenta 12, June 16 - September 23, 2007 (another example exhibited) LITERATURE L. Lawler, Louise Lawler: An Arrangement of Pictures, New York, 2000, n.p.

(illustrated); H.J. Hafner, “Nicht Formlos Kontingent,” Artnet Magazine (online content, German edition), July 23, 2007 (illustrated)

114

ANSELM REYLE

b. 1970

Untitled, 2007 Acrylic and silver PVC foil on canvas in Plexiglas box. 28 x 23 5/8 x 4 3/4 in.

(71.1 x 60 x 12.1 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Galerie Almine Rech, Paris

115

ROSEMARIE TROCKEL

b. 1952

Less Savage Than Others, 1989 Felt and cardboard stapled over wooden plinth (in two parts). 44 1/4 x 13 7/8 x 15 1/4 in. (112.4 x 35.2 x 38.7 cm). Signed and dated “RTrockel 89” on the top of plinth. This work is unique.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Barbara Gladstone Gallery, New York LITERATURE S. Stich, ed., Rosemarie Trockel, Munich, 1991, p. 96, no. 4 (illustrated)

116

SUE WILLIAMS

b. 1954

The Gaze (Grey), 1995 Acrylic on canvas. 84 x 72 in. (213.4 x 182.9 cm). Signed and dated “Sue Williams 95” on the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE 303 Gallery, New York; Private collection, Geneva

117

MIKE KELLEY

b. 1954

Katy Keene Drawings/Cal Living (n.11), 2000 Ink on paper. 19 x 24 in. (48.3 x 61 cm). Signed and dated “M. Kelley 2000” on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Galleria Emi Fontana, Milan

118

119

118

RAYMOND PETTIBON

b. 1957

119

PAUL RUSCONI

b. 1965

No Title (Monica does her...), 1999

Barack Obama, 2008

Ink and graphite on paper. 8 7/8 x 10 in. (22.5 x 25.4 cm). Signed and dated

Digital screen inks on Plexiglas with c-print mounted to Sintra in the artist’s

“Raymond Pettibon 99” on the reverse.

wooden frame. 48 1/2 x 62 in. (132.2 x 157.5 cm). Artist’s blindstamp on metallic

Estimate $ 5 , 0 0 0 -7, 0 0 0

label adhered to the reverse. This work is unique.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE David Zwirner, New York PROVENANCE Acquired directly from the artist

12 0

MIKE KELLEY

b. 1954

Black Garbage (Grassy Island, [Canadian]); White Garbage (Bob Lo Island), 2001 Diptych: two cibachrome prints mounted on board. 71 3/4 x 48 in. (182.2 x 121.9 cm) each. Each signed “M. Kelley” on a label adhered to the reverse. This work is from an edition of five.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Patrick Painter Editions, Hong Kong

121

CARL ANDRE

b. 1935

AL 4 Blocks, 2008 Aluminum (in four parts). 2 x 7 5/8 x 4 in. (5.1 x 19.4 x 10.2 cm) each; 2 x 15 1/4 x 8 in.

(5.1 x 38.7 x 20.3 cm) overall. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE RULE Gallery, Denver; Private collection, St. Louis

12 2

GEORGE RICKEY

1907 - 2002

Inverted Column, 1966 Stainless steel kinetic sculpture. 36 x 6 x 12 in. (91.4 x 15.2 x 30.5 cm). Inscribed “Rickey 1966” on the wall mount; titled “Inverted Column” on the reverse of the wall mount. This work is unique.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Maxwell Davidson Gallery, New York LITERATURE M. Davidson III, George Rickey: The Early Years, New York, 2004,

p. 209 (illustrated)

12 3

TERENCE KOH

b. 1977

The Golden Balls of my Youth, 2007 Bronze, 24 karat gold plating and wire. 10 7/8 x 9 5/8 x 5 1/2 in. (27.6 x 24.4 x 14 cm).

This work is from an edition of five plus two artist’s proofs.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Peres Projects, Berlin

124

JIM HODGES

b. 1957

Another Day, 2004 23 karat gold on cut paper. 15 x 22 1/2 in. (38.1 x 57.2 cm). Signed, titled and dated “J. Hodges Another Day 2004” on the reverse.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Stephen Friedman Gallery, London

125

KAREN KILIMNIK

b. 1955

The cult of Isis at Chateau Beaufort north of Paris, 1999 Water soluble oil on canvas. 8 x 10 in. (20.3 x 25.4 cm). Signed, titled and dated “Karen Kilimnik June 10 99 July 16 99 The cult of Isis at Chateau Beaufort north of Paris” on the reverse.

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Emily Tsingou Gallery, London EXHIBITED London, Emily Tsingou Gallery, Karen Kilimnik, November 2 - December 20, 2000 LITERATURE K. Kilimnik, Karen Kilimnik Paintings, Zurich, 2001, pp. 148 and 149 (illustrated)

12 6

WILLIAM KENTRIDGE

b. 1955

Untitled (from Sleeping on Glass), 1999 Charcoal, colored pencil and graphite on paper. 47 1/2 x 62 7/8 in. (120.7 x 159.7 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Goodman Gallery, Johannesburg; Private collection, USA

127

TONY CRAGG

b. 1949

Yellow Axe, 1981 Installation comprised of 63 found yellow plastic objects. 12 1/4 x 55 x 65 in.

(31.1 x 139.7 x 165.1 cm) as installed. This work is accompanied by an artistdesigned installation template.

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Marisa del Re Gallery, New York

12 8

PETER HALLEY

b. 1953

Untitled, 2004 Acrylic, Day-Glo acrylic, and Roll-a-Tex on canvas (in three parts).

70 1/4 x 45 1/8 x 3 3/4 in. (178.4 x 114.6 x 9.5 cm). Signed and dated “Peter Halley 2004” on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Galerie Thaddaeus Ropac, Paris

12 9

DAMIEN HIRST

b. 1965

Untitled (Spin Drawing), 2003 Pastel, acrylic ink, wax pastel, glitter, felt-tip pen and colored pencil on paper.

30 x 22 in. (76.2 x 55.9 cm). Signed “Damien Hirst” lower right.

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Gifted by the artist to the previous owner; Private collection, Los Angeles

13 0

PETER HALLEY

b. 1953

Adapter, 1998 Acrylic, metallic acrylic paint and Roll-a-Tex on canvas (in two parts).

92 1/8 x 68 1/2 x 3 3/4 in. (234 x 174 x 9.5 cm) overall. Signed twice and dated “Peter Halley 1998” on the reverse.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Mary Boone Gallery, New York LITERATURE S. Kandel, T. Nichols, C. Reynolds and P. Halley, Peter Halley: Maintain

Speed, New York, 2000, p. 206 (illustrated)

131

TIM NOBLE & SUE WEBSTER

b. 1966 and b. 1967

A ‘Fucking Beautiful’ Detail, 2000 Hot pink neon, hardware and transformer (in three parts). 19 1/2 x 47 1/2 x 1 1/2 in.

(49.5 x 120.7 x 3.8 cm). This work is from an edition of 10.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Modern Art, London

13 2

JULIAN OPIE

b. 1958

This is Shahnoza 39, 2006 Vinyl on wooden stretcher. 89 1/4 x 41 3/4 in. (226.7 x 106 cm). Signed “Julian Opie” on the overlap.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Barbara Krakow Gallery, Boston; Private Collection

13 3

CHUCK CLOSE

b. 1940

Self-Portrait, 2006 Jacquard tapestry with stainless steel brackets and rod. 99 1/2 x 77 x 3 1/2 in.

(252.7 x 195.6 x 8.9 cm). Signed “Chuck Close” on a label sewn to the reverse.

This work is a publisher’s proof from an edition of 10 plus three artist’s and three publisher’s proofs.

Estimate $ 9 0 , 0 0 0 -1 2 0 , 0 0 0 PROVENANCE The Magnolia Tapestry Project, Oakland

For over thirty years, Chuck Close’s face has emerged from tonal grids of fingerprints, pointillist dots, brushstrokes, paper pulp and countless other media. The inspiration for the present lot derives from a series of daguerrotypes begun in the mid-1990s. The technique draws its influence from two methods separated by nearly two hundred years of art history- namely the 19th century photographic technique, defined by its infinite detail and emotional resonance and the Magnolia Tapestry Project’s digitally-driven 21st century approach to weaving.

This newly developed technique, a result of experiments conducted within the last decade, begins with the creation of a digital weave file and is then sent to an electronic jacquard loom for fabrication. Unlike traditional weaving, there is no ‘cartoon’ or interpretation by weavers; the loom is guided entirely by the digital file, meaning that the artist’s intention is precisely realized with no mediation. The formidable impact of Self-Portrait, with its crisp, animated detail and rich texture allows the viewer to participate in a powerful somatic experience: a wordless, intimate confrontation with a dedicated artistic pioneer.

13 4

ADAM FUSS

b. 1961

Untitled, 2003 Gelatin silver print photogram. 87 x 55 1/2 in. (221 x 141 cm). This work is unique.

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Cheim & Read, New York EXHIBITED New York, Cheim & Read, Adam Fuss: New Work, October 16 - November 15, 2003

13 5

CHRISTOPHER WOOL

b. 1955

Untitled, 1989 Enamel on paper. 35 3/8 x 26 in. (89.9 x 66 cm). Signed and dated “Christopher Wool 89” on the reverse.

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Luhring Augustine, New York; Gagosian Gallery, London

13 6

JOHN WATERS

b. 1946

Playdate, 2006 Two figures comprised of silicone, human and synthetic hair, cotton flannel and polar fleece. Installation dimensions variable. Jackson: 15 3/4 x 26 x 15 1/2 in.

(40 x 66 x 39.4 cm); Manson: 18 3/4 x 12 1/2 x 13 in. (47.6 x 31.8 x 33 cm). Signed and titled “John Waters ‘Playdate’” and numbered of five on the reverse of the Manson figure. This work is from an edition of five.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Marianne Boesky Gallery, New York EXHIBITED New York, Marianne Boesky Gallery, John Waters: Unwatchable, April 21 -

John Waters, internationally-acclaimed director, filmmaker, entertainer

May 20, 2006 (another example exhibited); Charlottesville, University of Virginia Art

and artist brings to light his typical, quirky insight from his life in

Museum, Complicit! Contemporary American Art and Mass Culture, September 1 October 29, 2006 (another example exhibited); St. Louis, Laumeier Sculpture Park,

entertainment in the present lot titled Playdate. Here Waters captures

Artistically Incorrect: The Photographs and Sculptures of John Waters, October 11, 2008 -

an eerie, life-like rendering of the archetypal figures Michael Jackson

January 11, 2009 (another example exhibited)

and Charles Manson. Informed from the artist’s everyday life, the

LITERATURE R.C. Baker, “Laugh Till You Cry,” The Village Voice, May 2, 2006; D. D’Arcy,

“John Waters: Unwatchable,” GreenCine, May 17, 2006 (illustrated); A.C. Robinson, “John

shrill dark satire exhibits itself as the viewer engages with the

Waters Unwatchable,” Gay City News, Volume 5, Issue 18, May 4 - 10, 2006 (illustrated);

characters’ significance as rather unusual playdates amongst the

D. Bonetti, “Camping it up with John Waters,” STLtoday.com (online content), October 12,

well-heeled artworld.

2008 (illustrated); H. Barnes, “John Waters still wants to shock, but affluence is good, too,” St. Louis Beacon, 2008 (illustrated); A. Goldstein, “In Memoriam: A Retrospective of Michael Jackson’s Image in Contemporary Art,” Art We Love (online content), June 26, 2009

137

KEITH TYSON

b. 1969

Oct. 2002 A Last Minute Problem...Recycling the Rubbish...(version 2), 2002 - 2007 Color Xerox, oil, watercolor and gouache on paper. 59 7/8 x 48 1/4 in. (152.1 x 122.6 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Haunch of Venison, London; PaceWildenstein, New York;

Private Collection EXHIBITED London, Tate Britain, Turner Prize 2002, October 30, 2002 - January 5, 2003

13 8

JASON RHOADES

1965 - 2006

Pink Lipped Custard Sucker, 2003 Neon mounted on dark red translucent Plexiglas with wire, string, lace and transformer. 25 1/4 x 46 3/4 x 2 in. (64.1 x 118.7 x 5.1 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE David Zwirner, New York EXHIBITED New York, David Zwirner, Meccatuna, September 12 - October 25, 2003

13 9

STEVEN PARRINO

1958 - 2005

Untitled for J.O., 1984 Acrylic and enamel on linen. 12 x 22 1/8 in. (30.5 x 56.2 cm). Titled and dated “Untitled for J.O 1984” on the reverse; stamped “Steven Parrino” on right turning edge.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Acquired directly from the artist

14 0

MARILYN MINTER b. 1948 Goldi, 2004 C-print mounted on aluminum. 51 1/8 x 37 7/8 in. (130 x 96 cm.) This work is from an edition of five and is accompanied by a certificate of authenticity.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Private collection, Europe

141

THOMAS RUFF

b. 1958

Nudes wh 20, 2001 C-print face-mounted to Diasec in the artist’s wooden frame. 55 x 1/4 x 43 3/8 in.

(139.7 x .6 x 110.2 cm). Signed, titled, dated “Thomas Ruff wh 20 2001” and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE David Zwirner, New York; Private collection, New York LITERATURE M. Winzen, Thomas Ruff 1979 to the Present, Cologne, 2001, p. 241

(illustrated); T. Ruff, Thomas Ruff Nudes, New York, 2003, p. 7 (illustrated)

(Detail)

142

TONY OURSLER

b. 1957

Flower Power, 1987 Hand sewn fabric collage puppet on bamboo rod, DVD and DVD player, Sony Data projector and plastic Kinetoscopes focusing device on an artist designed custom-built painted wooden plinth. 60 3/4 x 16 x 24 in. (154.3 x 40.6 x 61 cm) overall. Signed and dated “Tony Oursler 93” on the reverse of the puppet’s head.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist

14 3

MATTHEW BARNEY

b. 1967

Cremaster 3: Basis Found, 2002 C-print in the artist’s acrylic frame. 53 3/8 x 43 3/8 in. (135.6 x 110.2 cm). Signed and dated “Matthew Barney 02” on the reverse. This work is from an edition of six plus one artist’s proof.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Barbara Gladstone Gallery, New York LITERATURE N. Spector, ed., The Cremaster Cycle, New York, 2002, p. 512

14 4

JOSH SMITH

b. 1976

Untitled, 2005 Acrylic and newspaper collage on wooden panel. 60 x 48 in. (152.4 x 121.9 cm).

Signed and dated “Josh Smith 2005” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Galerie Catherine Bastide, Brussels

14 5

JOSH SMITH

b. 1976

Untitled, 2007 Oil on canvas. 60 1/4 x 48 in. (153 x 121.9 cm). Signed and dated “Josh Smith 2007” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE de Pury & Luxembourg, Zurich

146

147

14 6

RAYMOND PETTIBON

b. 1957

147

ROXY PAINE

b. 1966

No Title (Hack Killecuda...), 1993

Untitled (Craters), 1995

Ink and watercolor on paper. 19 1/2 x 15 in. (49.5 x 38.1 cm). Signed and dated

Bin primer, casein and graphite on paper. 19 x 23 3/4 in. (48.3 x 60.3 cm). Signed

“Raymond Pettibon 93” on the reverse.

and dated “Roxy Paine 95” lower right.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Estimate $ 7, 0 0 0 - 9 , 0 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

14 8

FRANZ WEST

b. 1947

Untitled, 1989 McCallan single-malt whiskey glass bottle wrapped in papier-mâché over metal rod. 94 x 5 x 5 in. (238.8 x 12.7 x 12.7 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE André Simoens Gallery, Knokke EXHIBITED Nice, Villa Arson, Franz West, November 19, 1995 - January 14, 1996

149

AGNES MARTIN

1912 - 2004

Untitled, 1995 Graphite, ink and watercolor on onion skin paper. 11 x 11 in. (27.9 x 27.9 cm).

Signed and dated “a.martin ‘95” lower right.

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 PROVENANCE PaceWildenstein, New York; Private collection, New York; Anthony

Meier, San Francisco; Hester van Roijen, London; Private collection, Massachusetts EXHIBITED New York, PaceWildenstein, Agnes Martin New Drawings and Watercolors,

March 28 - April 27, 1996

The work of Agnes Martin can be characterized by wonderfully subtle abstractions that, despite their mechanical nature, are intensely poetic. In her grid drawings, Martin directly confronts her Minimalist contemporaries through her trademark pattern by demanding long meditative contemplation from her viewers regardless of the pattern’s seemingly simple structure. This meditative experience is at odds with the major tenets of American Minimalism.

The powerful tension the present lot exudes is due to the artist’s manipulation of an arrangement of lines, normally considered cold, intellectual and purely formal into a serene and delicate motif that transcends its own simplicity. Martin’s artistic triumph is her ability to elicit emotion from rational order; her gentle reduction of the visual image until it conveys the most basic archetypal form allows her to evoke the most fundamental emotional responses.

15 0

JULIAN OPIE

b. 1958

Flocked Painting No. 50, 2007 Flocking on canvas. 69 1/4 x 82 7/8 in. (175.9 x 210.5 cm). Signed “Julian Opie” on the overlap.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Patrick De Brock Gallery, Knokke

151

ANDY WARHOL

1928 - 1987

Plate of Food with Man’s Chest, circa 1976 - 1986 Four gelatin silver prints stitched with thread. 21 1/4 x 27 1/2 in. (54 x 69.9 cm).

Stamped with the Estate and Foundation seals and numbered “FL14.00007” on the reverse. This work is unique.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE The Estate of Andy Warhol, New York; Greenberg van Doren Gallery,

New York; Private collection, New York

152

ANDY WARHOL

1928 - 1987

Tom Royal, circa 1952 Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate and Foundation seals and numbered “292.006” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Susan Sheehan Gallery, New York

15 3

ANDY WARHOL

1928 - 1987

Gateau of Marzipan, circa 1959 Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate and Foundation seals and numbered “345.005” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Susan Sheehan Gallery, New York

15 4

ANDY WARHOL

1928 - 1987

Joseph Kennedy III, Orange, Red, Pink, Black, circa 1986 Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the Estate and Foundation seals and numbered “UP42.02” on the reverse. This work is unique.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Sandroni.Rey, Los Angeles LITERATURE C. Defendi, F. Feldman, J. Schellmann, et. al., Andy Warhol Prints: A

Catalogue Raisonné, 2003, p. 313 (illustrated), no. 111c.76 (a)

15 5

ANDY WARHOL

1928 - 1987

Joseph Kennedy III, Orange, Red, Pink, circa 1986 Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the Estate and Foundation seals and numbered “UP42.03” on the reverse. This work is unique.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Sandroni.Rey, Los Angeles

(i)

15 6

ANDY WARHOL

1928 - 1987

Two works: Mineola Motorcycle and Mineola Motorcycle (Negative), 1985 - 1986

Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm) each. (i) Stamped with the Estate and Foundation seals and numbered “PA10.127” on the overlap; (ii) stamped with the Estate and Foundation seals and numbered “PA10.119” on the overlap.

Estimate $ 1 0 0 , 0 0 0 -1 5 0 , 0 0 0 PROVENANCE Gagosian Gallery, Beverly Hills; Gagosian Gallery, New York LITERATURE (ii) C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away!

Late Paintings and Related Works, 1984 - 1986, New York, 1992, p. 65 (illustrated)

(ii)

To counter ... self doubt, starting in the late 1970s Warhol undertook

the power of the mind for spiritual salvation, the capacity for the body to

project after project, culminating in a large uncommisioned group of

be improved, and military geopolitics. With reconsideration of the last

black-and-white paintings and drawings in his trademark “plagiarist”

years of Warhol’s career, when critics pressured the artist to revitalize

fashion; that is, based directly on newspaper advertisements, street

what they considered to be a career that had lapsed after he became the

leaflets, and ordinary book illustrations. These works constitute the

victim of a newly-successful murder attempt in 1968, the rich implications

present volume… like all of Warhol’s art, these lots pictures take visual

of this black-and-white series newly provides material for a much needed

cues from the ubiquitous Western media at the service of consumerism

last chapter to the Warhol story. (C. Stuckey, Heaven and Hell are Just

and publicity, while also addressing more personal and ultimate concern:

One Breath Away, Andy Warhol, New York, 1992, p. 10)

157

ANDY WARHOL

1928 - 1987

Somebody Wants To Buy Your Apartment Building! (Negative), 1985 Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm).

Stamped with the Estate and Foundation seals and numbered “PA10.118” on the overlap.

Estimate $ 9 0 , 0 0 0 -1 2 0 , 0 0 0 PROVENANCE Andy Warhol Foundation for the Visual Arts, Inc., New York; Private

collection, Los Angeles; Karl Hutter Fine Art, Beverly Hills EXHIBITED New York, Gagosian Gallery, Andy Warhol: B & W Paintings: Ads and

Illustrations 1985 - 86, March 2 - March 30, 2002 LITERATURE C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away! Late

Paintings and Related Works, 1984 - 1986, New York, 1992, p. 68 (illustrated)

The present lot, produced near the end of Andy Warhol’s prolific career, was highly influenced by his friendship and working relationship with Jean-Michael Basquiat. It was while working with Basquiat that Warhol developed his own graffiti-art look, and extended his 1979 Reversals methodology by reversing black and white areas when transferring images onto canvas. His advertising images are also tributes to the careers of Keith Haring and Claes Oldenburg, which embraced both Pop art and graffiti.

The significance of Warhol’s late black-and-white works based on advertising images and lettering is perhaps most apparent in these mural-scale hybrids of the sacred and the profane: the black-and-white images are Warhol’s final subversive lexicon of street art images awaiting transposition into art gallery and museum contexts where they will expand post-Pop, postmodern taste.

(C. Stuckey, “Heaven and Hell Are Just One Breath Away!” in Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, Gagosian Gallery, New York, Rizzoli, 1992, p. 31)

15 8

JEAN-MICHEL BASQUIAT

1960 - 1988

Two works: Nod and Untitled, 1986 Acrylic, oilstick, nails, metal hardware and Xerox paper collage on wood and ink and paper collage on paper. 25 1/2 x 14 1/4 x 14 in. (64.8 x 36.2 x 35.6 cm) and 13 7/8 x 8 1/2 in. (35.2 x 21.6 cm). (i) signed and dated “Jean-Michel Basquiat 86” on the reverse of box and (ii) signed and dated “Jean Michel Basquiat Sept 16 or 18th 1986” lower right. (ii) is accompanied by a color Xerox signed “Jean-Michel Basquiat” on the reverse.

Estimate $ 1 2 0 , 0 0 0 -1 8 0 , 0 0 0 PROVENANCE William S. Burroughs, Lawrence (Kansas); Estate of William S.

Burroughs, Lawrence (Kansas); Private collection, New York EXHIBITED Los Angeles County Museum of Art, Ports of Entry: William S. Burroughs

and the Arts, July - October 1996 LITERATURE R. Sobieszek, W.S. Burroughs, Ports of Entry: William S. Burroughs and

the Arts, 1996, p. 143 (illustrated); Galerie Enrico Navarra, ed., Jean-Michel Basquiat, Paris, 2000, pp. 252-253 (illustrated)

The artist-rebel of his time, Jean-Michel Basquiat is one of the most influential figures within post-war 20th Century art. He had the exceptional ability to create a work imbued with personal history and cultural legacy, culminating in a visceral sculptural display of magnificence. His work is charged with an identity that requires viewers to move about a piece and examine its every angle, offering an active experience instead of observed passivity. By forcing the observer to move around the work, Basquiat establishes a visual and structural play on the idea of semiotics—where the signifier and the signified enter a reciprocal relationship, making one reliant on the other, yet completely dependant on the experience of the work itself. Through the power of words and symbols, both pure and abstract, he referenced the Native American culture, the African Diaspora, and the New York Punk music generation, an unparalleled synthesis of image, text, and meaning. Much of Basquiat’s inspiration lies with the founder of the Beat Generation, William S. Burroughs, the radical and unconventional genius of the post-modern world. Burroughs was greatly respected by the culture which roamed the East Village in the 80s, his antiestablishment standing striking a cord with those exploring an unimagined future as fiercely independent individuals.

The present lot, Nod, 1986, a commanding sculptural piece with an accompanying work on paper, Untitled, 1986, is a kind of homage from Basquiat to Burroughs. The source of the title is threefold: it is first a biblical reference to the dwelling place of Cain, the original outsider in the history of man. “And Cain (following the treacherous murder of his brother Abel) went out from the presence of the Lord, and dwelt in the land of Nod, on the east of Eden.” (Genesis 4:15-16, King James (ii)

Version.). Second, “Nod” is the Hebrew root of the verb “to wander,” the peripatetic lifestyle of Cain. And lastly “Nod” is also the state of heroin or opioid intoxication referred to as “being in the land of Nod” characterized by the “nodding off” into a different world. The three foundations of the title summarize the kinship between these two geniuses; both lived much of their lives as outcasts from society, were constant wanderers of innovation, and finally both men turned to drugs in their pursuit of an alternative world. Nod and Untitled serve as an emblem to this kinship, forever uniting the two men in a monumental and omnipresent work, affirming the powerful affect each had on each other’s lives.

46299

(i)

15 9

WILLEM DE KOONING

1904 - 1997

Woman Study, 1959 Sumi ink and graphite on paper. 10 3/4 x 8 1/2 in. (27.3 x 21.6 cm). Signed “de Kooning” lower right.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Allan Stone Gallery, New York

16 0

ARSHILE GORKY

1904 - 1948

Untitled, 1946 Ink wash and crayon on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Allan Stone Gallery, New York

161

WILLEM DE KOONING

1904 - 1997

Bewitched Woman, 1965 Oil on paper laid down on masonite. 29 7/8 x 11 in. (75.9 x 27.9 cm). Signed “de Kooning” lower left.

Estimate $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0 PROVENANCE Noah Goldowsky Gallery, New York; Allan Stone Gallery, New York;

Collection Winston and Susan McGee, Cleveland; Collection Larry Gordon, Los Angeles; Private Collection; Spanierman Gallery, New York

I don’t feel like a non-objective painter at all…it had to do with the female painted through all the ages, all those idols. And maybe I’d been stuck to a certain extent, couldn’t go on. And it did one thing for me: it eliminated composition, arrangement, relationships, light — …all this silly talk about line, color and form... — because that was the thing I wanted to get hold of. I put it in the center of the canvas because there was no reason to put it a bit on the side. So I thought I might as well stick to the idea that it’s got two eyes, a nose and a mouth and neck… I got to the anatomy and I felt myself always getting flustered. I really could never get hold of it. It always petered out… it became compulsive in the sense of not being able to get hold of it…it really is very funny…to get stuck with a woman’s knees, for instance. You say, what the hell am I going to do with that now…it’s really ridiculous…it became a problem of picture painting, because the very fact that it had word connected with it- figure of a woman- made it more precise. [Forms] ought to have the emotion of a concrete experience…I am very happy to see that grass is green. At one time, it was very daring to make a figure red or blue: I think now that it is just as daring to make it flesh-colored.

Willem de Kooning, in a 1960 BBC interview with David Sylvester, taken from M. Glimcher, Willem de Kooning Jean Dubuffet The Women, New York, 1990, pp.7 - 8.

The present lot, Bewitched Woman, executed in 1965, delights in de Kooning’s emergence from his steadfast 1950s forms of pure abstraction and delves straight into the highly stylized and fetishistic era of the 1960s with his form-filled depictions of women. The color, form and gestural splashes of brushwork evoke de Kooning’s most typical forms, but the palette and vividness of the composition awaken another sense to the artist’s deepest form of expression. This work, in essence, is a true homage to the female spirit and the artist’s own spirit, too.

16 2

FRANZ WEST

b. 1946

Untitled, 2004 Lacquered aluminum. 21 x 56 x 46 in. (53.3 x 142.2 x 116.8 cm).

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 PROVENANCE Galerie Bärbel Grässlin, Frankfurt; Private collection, USA

The past decade has witnessed an extraordinary jump in West’s international exposure, due in no small measure to the large public commissions he has completed. Among other effects, the execution of outdoor projects at Innsbruck [2000], New York [2004], and Paris [2007] has affected the size and complexity of his works…As the forms materialize from highly polished sheets, the metal is bent and buckled into submission. Shapes develop from collaged-on fragments: loops, obelisks, balls, and wedges. And then the colors come as if extracted from a Toys “R” Us catalogue, with lemon yellows, sky blues, and bubblegum pinks adding festivity to the glossy chrome bodies of these monumentally humble objects. Ambitious, demanding of high-end manufacture, but unabashedly stitched together like a salvaged car, these enormous and enormously appealing forms now populate parks and plazas on both sides of the Atlantic.

D. Alexander, ed., Franz West, To Build a House You Start with the Roof: Work, 1972 - 2008, Baltimore, 2008, p. 96 Fundamentally sculptural in construction, West’s work veers frequently toward the biomorphic and prosthetic, mines the intellectualism of Freud and Wittgenstein, and possesses an awkward beauty that speaks with equal fluency to the aesthetics of painterly abstraction and trash art. The present lot, a pearlescent, delectable shade of pink delights its viewer in not only color and form but presentation as well: one is enraptured to touch, sit, and enjoy the work in its entirety. West is indeed a master of the medium here for the “flesh” of the aluminum and the “vivacity” of the paint layers enliven and play with the mundane and imagination one and the same. It is no surprise that these lively sculptures play out amongst private and public spaces worldwide, bringing the focus of West to the forefront of the international art world.

(Alternate view)

163

164

16 3

ANDY GOLDSWORTHY

b. 1956

Leaf Horn Sweet chestnut leaves and thorns. 11 3/4 x 13 1/2 x 5 1/2 in. (29.8 x 34.3 x 14 cm).

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Haines Gallery, San Francisco

16 4

DAVID NASH

b. 1945

Birch Crack and Warp Column, 1999 Caen-y-coed Birch wood. 18 1/4 x 9 1/4 x 8 in. (46.4 x 23.5 x 20.3 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Haines Gallery, San Francisco

16 5

FRANCESCO CLEMENTE

b. 1952

Stupa, 1991 Acrylic and spray-paint on canvas and linen (in five parts). 130 3/4 x 39 1/4 in.

(332.1 x 99.7 cm).

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 PROVENANCE Diego Cortez Arte Limited, New York; Private collection, Boston

16 6

RIVANE NEUENSCHWANDER

b. 1967

Untitled, 2000 Scotch tape and ants. 46 1/2 x 54 1/4 in. (118.1 x 137.8 cm).

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Stephen Friedman Gallery, London

167

DORIS SALCEDO

b. 1958

Atrabiliarios (Irritable), 1996 Wall installation comprised of found shoe, cow bladder and surgical thread on drywall. 47 1/4 x 32 x 1 in. (120 x 81.3 x 2.5 cm).

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE White Cube, London

(Actual Size).

16 8

DR. LAKRA

b. 1972

Untitled (the sun bath), 2005 Ink on vintage photograph. 7 x 5 1/2 in. (17.8 x 14 cm). Signed “Dr. Lakra” upper left.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE kurimanzutto, Mexico City

16 9

GABRIEL OROZCO

b. 1962

Untitled, 2000 Ink, watercolor and graphite on paper. 9 7/8 x 7 in. (25.1 x 17.8 cm). Signed and dated “Gabriel Orozco 2000” on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE kurimanzutto, Mexico City

170

MEYER VAISMAN

b. 1960

Untitled (Turkey XXXIII), 1995 Taxidermied turkey, nylon stockings and bale of hay with twine. 29 1/2 x 36 x 19 in.

(74.9 x 91.4 x 48.3 cm).

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist

171

JOSÉ DAMASCENO

b. 1968

Imminent Circuit, 2005 Installation comprised of 16 solid semi-precious stones and wooden pool cue rack. Installation dimensions variable. Each stone: 8 in. (20.3 cm) diameter; overall installed dimensions. 35 x 44 x 172 in. (88.9 x 111.8 x 436.9 cm) as illustrated. This work is from an edition of three.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE The Project, Los Angeles EXHIBITED The Project, Los Angeles: Imminent Circuit, March 5 - April 16, 2005 LITERATURE Brazzil Magazine, ed, “New York and LA Get to Know Brazil’s

Damasceno Art,” Brazzil Magazine (online content), March 2, 2005

172

SIGMAR POLKE

b. 1941

Untitled, 1983 Acrylic, spray and metallic paint on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm).

Signed and dated “S. Polke 83” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Patrick Painter Editions, Hong Kong

173

SIGMAR POLKE

b. 1941

Untitled, 1983 Acrylic, spray-paint and watercolor on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm).

Signed and dated “S. Polke 83” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Patrick Painter Editions, Hong Kong

174

HELMUT FEDERLE

b. 1944

Basics on Composition XXI (For Lee Harvey Oswald), 1992 Oil on linen. 15 3/4 x 19 3/4 in. (40 x 50.2 cm). Signed, titled and dated “Federle 92 Basics on Composition XXI (For Lee Harvey Oswald)” on the stretcher bar.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist; Galerie Nächst St. Stephan, Vienna;

Tony Wuethrich Galerie, Basel

175

HELMUT FEDERLE

b. 1944

Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig Und Klar, Herbstliches Wasser) [Two Equal Shapes, Unequal] [The Shore of the Lake Silent and Clear, Autumnal Water], 1996 Oil on linen. 23 x 26 in. (58.4 x 66 cm). Signed, titled and dated “Zwei Gleiche Forman Ungleich Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig Und Klar, Herbstliches Wasser) Federle 96” on the reverse and stretcher bar.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Galerie Nächst St. Stephan, Vienna EXHIBITED Munich, Maximilian Verlag Sabine Knust, Helmut Federle, November

1996 - January 1997

176

GÜNTHER FÖRG

b. 1952

Untitled, 1998 Acrylic on canvas. 79 x 65 in. (200.7 x 165.1 cm). Signed and dated “Förg 98” on the reverse.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Acquired directly from the artist

17 7

SERGEJ JENSEN

b. 1973

Untitled, 2002 Bleach on jute. 71 x 43 1/2 in. (180.3 x 110.5 cm). Signed and dated “Sergej Jensen 2002” on the overlap.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Galerie Neu, Berlin; Patrick De Brock Gallery, Knokke

178

NATHAN HYLDEN

b. 1978

Untitled, 2008 Acrylic on linen. 67 1/2 x 47 in. (171.5 x 119.4 cm). Signed and dated “Nathan Hylden ’08” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Richard Telles Fine Art, Los Angeles; art:concept, Paris

179

NATHAN HYLDEN

b. 1978

Some Other Way of Counting II, 2007 Acrylic and metallic paint on linen. 94 x 67 1/2 in. (238.8 x 171.5 cm). Signed and dated “Nathan Hylden ‘07” on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE art:concept, Paris EXHIBITED Paris, art:concept, Nathan Hylden Just Something Else, September 8 -

October 13, 2007 LITERATURE M. Lesauvage, Nathan Hylden, “Just Something Else,” ParisArt

(online content), 2007 (illustrated)

18 0

HEIMO ZOBERNIG

b. 1958

Untitled, 1998 Mirror mounted to cardboard on wood. 19 3/4 x 19 3/4 x 2 1/4 in. (50.2 x 50.2 x 5.7 cm). Signed and dated “Heimo Zobernig 1998” on the reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Kunstraum Hans Widauer, Innsbruck; Private collection, New York

181

JOSEPHINE MECKSEPER

b. 1964

Untitled, 2003 Acrylic and collaged fabric on canvas. 48 x 40 in. (121.9 x 101.6 cm).

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Elizabeth Dee, New York EXHIBITED Kunstmuseum Stuttgart, Josephine Meckseper, July 14Â - October 28, 2007 LITERATURE M. Ackermann, ed., Josephine Meckseper, Ostfildern-Ruit, 2007, pp. 96

and 160 (illustrated)

182

183

18 2

HELEN MIRRA

b. 1970

18 3

HELEN MIRRA

b. 1970

Ulmebuckel jung (elm hummock), 2002

Embroidered Grid, 2000

Stitched wool (in two parts). 3 x 24 x 24 in. (7.6 x 61 x 61 cm). Titled “Ulmebuckel

Cotton thread on paper. 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm).

jung elm hummock” on a label stitched to the underside of top element; titled “Ulmebuckel jung elm hummock younger” on a label stitched to the underside of bottom element.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Meyer Riegger Gallery, Karlsruhe

Estimate $ 1, 5 0 0 - 2 , 5 0 0 PROVENANCE Meyer Riegger Gallery, Karlsruhe

18 4

FRANK NITSCHE

b. 1964

MRG 30, 2002 Oil on canvas. 90 1/2 x 78 5/8 in. (229.9 x 199.7 cm). Signed, titled and dated “Nitsche MRG 30-2002” on the reverse.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Galerie Max Hetzler, Berlin; Patrick De Brock Gallery, Knokke

185

18 5

MARCIA HAFIF

18 6

b. 1929

SERGEJ JENSEN

b. 1973

21 April 1963, White-grey-yellow: Italian Series No. 21, 1963

Untitled (Hand), 2005

Acrylic and varnish on canvas. 17 3/4 x 17 3/4 x 2 1/2 in. (45.1 x 45.1 x 6.4 cm).

Neoprene and vinyl cutout affixed to linen. 15 3/4 x 12 in. (40 x 30.5 cm). Signed

Signed, titled and dated “Hafif April 1963 21” on the stretcher bar.

and dated “Sergej Jensen 2005” on the overlap.

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Galleria Edieuropa, Rome

PROVENANCE Patrick De Brock Gallery, Knokke

186

187

FRANCIS ALŸS

b. 1959

Maestro Zamora (Teacher Zamora), 1995 Gold and silver leaf and enamel on glass. 22 x 27 3/4 in. (55.9 x 70.5 cm). Signed and dated “Francis Alÿs 1995” on the reverse of the backing board.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE galería OMR, Mexico City; Tilton Gallery, New York

18 8

JONATHAN MEESE

b. 1970

Der Unbekannte Daddy (The Unknown Daddy), 2007 Oil on linen. 39 1/4 x 31 1/2 in. (99.7 x 80 cm). Initialed and dated “JM 07” lower left; signed, titled and dated “JMeese 07 Der Unbekannte Daddy” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Contemporary Fine Arts, Berlin

18 9

STEPHAN BALKENHOL

b. 1957

Lady with Red Dress, 2001 Oil on carved wawa wood. 59 x 21 x 11 1/2 in. (149.9 x 53.3 x 29.2 cm) overall.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE galería OMR, Mexico City EXHIBITED Costa Mesa (California), Frank A. Doyle Arts Pavilion at Orange Coast

College, Seeing the Figure Anew: Selections from the Marsha and Darrel Anderson Collection, February 5 - March 20, 2009

19 0

FRANK NITSCHE

b. 1964

Untitled, 1996 Oil on canvas. 51 1/4 x 45 1/4 in. (130.2 x 114.9 cm). Signed and dated “Nitsche 96” on the reverse.

Estimate $ 1 2 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Galerie Gebr. Lehmann, Dresden

191

CARLO MARIA MARIANI

b. 1931

Il pittore mancino (The left handed painter), 1982 Oil on canvas. 79 7/8 x 68 7/8 in. (202.9 x 174.9 cm). Signed, titled and dated “Carlo Maria Mariani Il pittore mancino 82” on the reverse.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Gian Enzo Sperone, Rome; Sperone Westwater, New York; Private

collection, Boston EXHIBITED Washington D.C., The Hirschhorn Museum and Sculpture Garden,

October 3, 1985 - January 5, 1986; Akron Art Museum, A New Romanticism: Sixteen Artists from Italy, January 28 - April 6, 1986; Darmstadt (Germany), Institut Mathildenhöhe, Carlo Maria Mariani, December 15, 1991 - January 26, 1992; Los Angeles County Museum of Art, Carlo Maria Mariani, February 27 - May 17, 1992

192

19 2

LUC TUYMANS

19 3

b. 1958

RAFAL BUJNOWSKI

b. 1974

Premonition (Series II), 2003

Untitled (cookies), 2004

Colored monoprint on J. Whatman 1961 HMP paper. 21 x 17 3/8 in. (53.3 x 44.1 cm).

Oil and graphite on canvas. 18 x 24 in. (45.7 x 61 cm). Signed and dated

Signed and titled “Luc Tuymans Premonition” and numbered of six lower margin.

“Bujnowski / 04” on the reverse.

This work is from a series of six monoprints.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE daniel hug, Los Angeles PROVENANCE Brooke Alexander Gallery, New York

193

19 4

EBERHARD HAVEKOST

b. 1967

Untitled, 1997 Oil on canvas. 11 3/4 x 15 3/4 in. (29.8 x 40 cm). Signed and dated “Havekost 97” on the reverse.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Galerie Gebr. Lehmann, Dresden; Collection Höhne, Cuxhaven

(Germany); Private Collection

(i)

(ii)

19 5

WANG JINSONG AND ZHANG DALI

b. 1963

Three works: (i) Parents, (ii) Dialogue Series, (iii) Dialogue Series, (i) 1998, (ii) 1999, (iii) 2003 Color photographs. (i) 23 x 25 in. (58.4 x 63.5 cm), (ii) 31 5/8 x 42 3/4 in.

(80.3 x 108.6 cm), (iii) 41 x 29 1/2 in. (104.1 x 74.9 cm). (i) Titled and dated “‘PARENTS’ 1998 [in English and Chinese]” on lower left; signed “Wang Jinsong [in English and Chinese]” and numbered of 30 on lower right. This work is from an edition of 30; (ii) signed and dated “Zhang Dali 1999 [in English and Chinese]” and numbered of 10 on lower margin and on the reverse. This work is from an edition of 10; (iii) signed and dated “Zhang Dali 2003 [in English and Chinese]” and numbered of 10 on lower margin and on the reverse. This work is from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 (iii)

PROVENANCE Private collection, New York

196

197

19 6

ZHANG HUAN

197

b. 1965

ZHANG DALI

b. 1963

To raise the water level in a fish pond (waterchild), 1997

Two works: Dialogue Series and Demolition Series, 2003 and 2004

Chromogenic print. 37 x 48 in. (94 x 121.9 cm) paper size. This work is

Color photographs. 31 5/8 x 43 1/4 in. (80.3 x 109.9 cm) and 43 1/2 x 31 5/8 in.

accompanied by a label signed, titled and dated “To raise the water level in a fish

(110.5 x 80.3 cm) . Each signed, titled and dated “Zhang Dali [in English and

pond (waterchild) Zhang Huan 1997 Beijing [in Chinese]” and numbered of 15.

Chinese]” and numbered of 10 lower right. These works are from an edition of 10.

This work is from an edition of 15.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

•

LITERATURE Xunta de Galicia and Cotthem Gallery, eds., Zhang Huan - Pilgrimage to

Santiago, Santiago de Compostela, 2001, pp. 162 and 163 (illustrated); M. Chiu, K. Bu, E. Hartney, Z. Huan, Zhang Huan: Altered States, Milan, 2007, p. 37 (illustrated)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

•

19 8

FANG LIJUN

b. 1963

1999.6.1, 1999 Six woodblock prints and ink on paper scrolls with wooden dowels and fabric.

192 3/4 x 286 1/2 in. (489.6 x 727.7 cm) overall. Signed in Chinese lower right of each scroll. Sixth print is also titled, numbered of eight and dated “1999.6.1� lower left and center. This work is from an edition of eight.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Benefit Auction, Neue Nationalgalerie, Berlin

199

19 9

SHI GUORUI

b. 1964

Himalayas Everest 8844.43 M Nov.20.2005, 2005 Camera obscura gelatin silver print. 50 3/4 x 157 1/2 in. (128.9 x 400.1 cm). Signed, titled and dated “Himalayas Everest 8844.43 M Nov. 20.2005 Shi Guorui 2005” on the reverse. This work is unique.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Chinese Contemporary, New York

200

LIN TIANMIAO

b. 1961

Focus III A, 2006-2007 Lithograph and silkscreen with embossing on STPI handmade paper.

49 1/2 x 40 in. (125.7 x 101.6 cm). Signed and dated “Lin Tianmiao 2007” and numbered of 20 lower right. This work is from an edition of 20.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist

200

201

2 01

LIN TIANMIAO

b. 1961

Focus XII A, 2006 - 2007 Lithograph, embossing, and flocking on hand-colored, STPI handmade paper.

50 x 40 in. (127 x 101.6 cm). Signed and dated “Lin Tianmiao 2007” and numbered of 20 lower right. This work is from an edition of 20.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED New York, Museum of Modern Art, Multiplex: Directions in Art 1970 to Now,

November 2007 - July 2008; New York, Mary Ryan Gallery, Lin Tianmiao: Focus & Wu Moonching: Photographs, March 13 - May 3, 2008; Beijing, Long March Space, Lin Tianmiao: Focus, April 12 - June 15, 2008 (other examples from the edition exhibited in each case)

202

202

HAI BO

203

b. 1962

HAI BO

b. 1962

The Four Seasons-Winter, 2000 - 2002

They, 2000

Color photograph. 48 3/4 x 47 3/4 in. (123.8 x 121.3 cm). This work is from an edition

Diptych: two gelatin silver prints. 23 7/8 x 16 3/4 in. (60.6 x 42.5 cm) each. Signed

of 10.

and dated “Hai Bo [in Chinese] 2000” and numbered of 20 lower right and again

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

•

PROVENANCE Private Collection, New Jersey EXHIBITED New York, Max Protetch, Hai Bo’s Solo Exhibition, June - August 2004 LITERATURE Max Protetch, Hai Bo, New York, 2006, p. 17 (illustrated)

203

on the reverse. This work is from an edition of 20.

Estimate $ 5 , 0 0 0 -7, 0 0 0

•

PROVENANCE Private Collection, New Jersey

204

WANG JIN

b. 1962

To Marry a Mule, 1995 C-print. 40 x 27 5/8 in. (101.6 x 70.2 cm). Signed, titled and dated “To Marry a Mule 1995 July 28 Beijing, Chaoyang Qu, Guang Yinxiang [in Chinese] Wang Jin [in Chinese and English]” and stamped and numbered along the lower margin. This work is an artist proof from an edition of five plus two artist’s proofs.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED New York, Asia Society Galleries and P.S. 1 Contemporary Art Center,

September 15, 1998 - January 3, 1999; San Francisco Museum of Modern Art and the Asian Art Museum of San Francisco, February 26 - June 1, 1999; Monterrey, Museo de Arte Contemporáneo, July 9 - October 10, 1999; Tacoma Art Museum and the Henry Art Gallery, Inside Out: New Chinese Art, 2000, November 18, 1999 - March 7, 2000 (another example exhibited); New York, Friedman Benda, Wang Jin, March 22 - April 22, 2007 LITERATURE Paris, Centre Pompidou, ed., Alors, La Chine?, Paris, 2003 (illustrated); V.

Tam, China Chic, p. 275 (illustrated); P. Lu, ed., 90s Art China, Hunan, 1999 (illustrated); M. Gao, ed., Inside Out: New Chinese Art, Berkeley, 1998, p. 32 (illustrated); H. Lu, ed., Conceptual Art, Hunan 1999, p. 58 (illustrated)

¨

205

YE YONGQING

b. 1958

Poem, 2001 Acrylic on canvas. 85 1/2 x 77 1/4 in. (217.2 x 196.2 cm). Signed and dated “Ye Yong Qing [in Chinese and English] 2001” lower right.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE X. Wang, ed., Sky’s Fate, Hebei, 2005, p. 23 (illustrated); H. Lee and

L. Weng, Beyond Boundaries, Shanghai, 2003, p. 176 (illustrated); H. Deng and X. Liu, eds., Chengdu Biennale 2001, Sichuan, 2001, p. 183 (illustrated)

206

FENG MENGBO

b. 1966

2005L01, 2005 Acrylic and VeeJet on canvas. 98 1/2 x 83 in. (250.2 x 210.8 cm). Signed and dated “Feng Mengbo [in Chinese]” on the reverse.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Private Collection

2 07

HUA JIMING

b. 1964

Two works: Baby and Fashion Icon, 2006 and 2007 Oil on canvas. 59 x 78 3/4 in. (149.9 x 200 cm) and 78 1/8 x 58 3/4 in. (198.4 x 149.2 cm).

Signed and dated “Hua Jiming 2006 [in English and Chinese]” lower left; signed and dated “Hua Jiming 2007 [in English and Chinese]” lower right.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist

208

208

ZHU JIAHE

b. 1979

209

SHI LIFENG

b. 1968

Little Red Classroom, 2008

Ferry to Happiness, 2006

Oil on canvas. 58 x 77 1/2 in. (147.3 x 196.9 cm). Signed, dated and stamped “Zhu

Oil on canvas. 52 x 70 in. (132.1 x 177.8 cm). Signed and dated “Shi Lifeng 2006 [in

Jiahe [in Chinese] 08” lower right.

English and Chinese]” lower right.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 7, 0 0 0 - 9 , 0 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

209

210

210

WANG QINGSONG

b. 1966

Another Battle No. 1, 2001 C-print face-mounted on Diasec. 39 1/4 x 26 in. (99.7 x 66 cm). Signed and dated “Wang Quingsong 2001 [in English and Chinese] and numbered of 20 lower right.

This work is from an edition of 20.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

•

PROVENANCE Stux Gallery, New York EXHIBITED London, Albion, Wang Qingsong, June 6 - July 7, 2006 (another example

exhibited); New York, Stux Gallery, Chinese Relativity: Part II, November 20 - December 22, 2007 (another example exhibited) LITERATURE M. Falconer, “Chinese Relativity: Part 1 at Stux Gallery, New York,”

Saatchi Online TV & Magazine (online content), December 1, 2006 (illustrated); K. Roach, Wang Qingsong, London, 2006, pp. 56, 129 (illustrated)

211

CANG XIN

b. 1967

Communication Series 4, Beijing, Temple of Heaven, 2000 C-print. 48 3/4 x 48 3/4 in. (123.8 x 123.8 cm). Signed, titled and dated “Cang Xin Communication Series 4, Beijing, Temple of Heaven 2000 [in English and Chinese]” and numbered of 10 along the margin. This work is from an edition of 10.

Estimate $ 5 , 0 0 0 -7, 0 0 0

•

PROVENANCE Private Collection, New Jersey

211

212

CANG XIN

b. 1967

Communication Series, 1999 Six c-prints. 23 5/8 x 19 5/8 in. (60 x 49.8 cm) each. Signed and dated “Cang Xin 1999 [in English and Chinese]” and numbered of 10 on the reverse. These works are from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

•

PROVENANCE Private Collection, New Jersey LITERATURE H. Du, Existence in Translation, Beijing, 2002, pp. 41 and 42 (illustrated)

213

NOBUYOSHI ARAKI

b. 1940

Untitled (Tokyo Comedy), 1996 - 1997 Gelatin silver print. 35 5/8 x 28 3/8 in. (90.5 x 72.1 cm).

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Studio Guenzani, Milan LITERATURE Taschen, ed., Araki, Cologne, 2002, n.p. (illustrated)

214

HIROSHI SUGIMOTO

b. 1948

Hunting dog, 1980 Gelatin silver print. 19 1/8 x 23 3/4 in. (48.6 x 60.3 cm) image size. Signed “Hiroshi Sugimoto” on lower right of matte board. This work is from an edition of 25.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE James Cohan Gallery, New York

215

NAN GOLDIN

b. 1953

Joana and Aurelia Making Out in My Apartment, NYC, 1999 Cibachrome mounted to Plexiglas. Signed, titled and dated “Joana and Aurelia making out in my apartment, NYC 1999 Nan Goldin” on the reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE N. Goldin, The Devil’s Playground, New York, 2003, p. 167 (illustrated)

216

TOM FRIEDMAN

b. 1965

Untitled (Road Atlas), 2005 Lambda print. 43 5/8 x 33 3/4 in. (110.8 x 85.7 cm) paper size. This work is from an edition of five plus two artist’s proofs.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Stephen Friedman Gallery, London

217

VIK MUNIZ

b. 1961

(Self portrait) Lucky, 2005 C-print. 60 1/4 x 47 1/4 in. (153 x 120 cm). Signed and dated “Vik Muniz 2005” on a label adhered to the reverse. This work is from an edition of six.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Acquired directly from the artist

218

VIK MUNIZ

b. 1961

Electric Chair (Pictures of Glitter), 2001 C-print. 48 x 64 7/8 in. (121.9 x 164.8 cm). Signed “Vik Muniz” and numbered of five on a label adhered the reverse. This work is from an edition of five.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Galerie Xippas, Paris EXHIBITED Santiago de Compostela, Centro Galego de Arte Contemporánea,

December 18, 2003 - March 7, 2004; Dublin, Irish Museum of Modern Art, March 31 June 13, 2004; Madrid, Fundación Telefónica, Vik Muniz, November 17, 2004 January 9, 2005 (another example exhibited) LITERATURE Centro Galego de Arte Contemporánea, ed., Vik Muniz, Santiago de

Compostela, 2003, p. 145 (illustrated); M. dos Anjos, J. Elkins, S. Rice, Vik Muniz: Obra Incompleta/IncompleteWorks, Rio de Janeiro, 2004, p. 37 (illustrated)

219

219

SARAH LUCAS

b. 1962

220

COLLIER SCHORR

b. 1963

Laugh?, 1998

The rivalry between God and other gods, 2002

R-print. 29 x 19 3/4 in. (73.7 x 50.2 cm). This work is from an edition of 10 plus one

C-print. 47 x 37 3/4 in. (119.4 x 95.9 cm). This work is from an edition of five plus

artist’s proof.

one artist’s proof.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Barbara Gladstone Gallery, New York

PROVENANCE Modern Art, London

LITERATURE Y. Dziewior, B. Ruf, eds., Sarah Lucas, 2005, Ostfildern-Ruit, p. 149 (illustrated)

LITERATURE G. Williams, “What are you looking at?”, Tate Etc., Issue 2, Autumn

2004 (illustrated)

220

2 21

CINDY SHERMAN

b. 1954

Untitled # 217, 1984, printed in 1990 Color coupler print. 51 x 34 in. (129.5 x 86.4 cm). Signed and dated ‘Cindy Sherman 1984/90’ and numbered of 12 on a label adhered to the reverse. This work is from an edition of 12 plus two artist’s proofs.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Metro Pictures, New York; Aspen Art Museum, Aspen LITERATURE R. Krauss, Cindy Sherman 1975 - 1993, New York, 1993, p. 238 (illustrated)

222

223

222

KIM- JOON

b. 1966

Duet-dog, 2006 C-print face-mounted to Plexiglas. 55 x 39 1/8 in. (139.7 x 99.4 cm). Signed and titled “Kim Joon Duet-dog” and numbered of five on a label adhered to the backing board. This work is from an edition of five.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Hamburg Kennedy Photographs, New York

223

LAURIE SIMMONS

b. 1949

Kaleidoscope House #11, 2000 Digital flex print. 24 x 16 1/4 in. (61 x 41.3 cm). Signed, titled, dated “Laurie Simmons Kaleidoscope House # 11” and numbered of five on the reverse. This work is from an edition of five.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Deitch Projects, New York

2 24

RUUD VAN EMPEL

b. 1958

World #8, 2005 C-print mounted to aluminum with Plexiglas face. 41 5/8 x 59 3/8 in. (105.7 x 150.8 cm). This work is from an edition of nine.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Stux Gallery, New York

2 25

MASSIMO VITALI

b. 1944

Rosignano Donna Sola, 2004 C-print with Diasec face. 70 3/4 x 86 1/4 in. (179.7 x 219.1 cm). This work is accompanied by a label signed, titled, dated “Massimo Vitali Rosignano Donna Sola 2004� and numbered of six. This work is from an edition of six.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Galerie Ernst Hilger, Vienna

226

MASSIMO VITALI

b. 1944

Negresco Mare, 2005 C-print with Diasec face. 59 x 71 7/8 in. (149.9 x 182.6 cm) paper size. Signed, titled, dated “Massimo Vitali Negresco Mare 2005� and numbered of six on a label adhered to the reverse. This work is from an edition of six.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE Hamburg Kennedy Photographs, New York

227

228

2 27

OLAFUR ELIASSON

b. 1967

228

DARREN ALMOND

b. 1971

Untitled (Iceland Series), 1999

Fullmoon@Arpenaz, 2001

Color photograph. 23 1/4 x 35 in. (59.1 x 88.9 cm). Signed and dated “Olafur

Lambda print in the artist’s frame. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm). This work

Eliasson 1999” on a label adhered to the reverse. This work is unique.

is from an edition of five.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE Bonakdar Jancou Gallery, New York

PROVENANCE Galerie Max Hetzler, Berlin EXHIBITED Berlin, Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, April

20 - May 26, 2001 (another example exhibited)

229

DOUG AITKEN

b. 1968

distant sign, 2005 C-print mounted to aluminum in the artist’s wooden frame. 49 3/4 x 62 1/4 in.

(126.4 x 158.1 cm). Signed “Doug Aitken” on a label adhered to the reverse. This work is from an edition of six.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE 303 Gallery, New York

230

230

WOLFGANG TILLMANS

b. 1968

Boot/foot, 1992, printed 1994 Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Wolfgang Tillmans boot/foot photo Aug. 92 print Apr. 94” and numbered of three on the reverse. This work is from an edition of three plus one artist’s proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Interim Art/Maureen Paley, London LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p.

(illustrated); W. Tillmans, Wolfgang Tillmans if one thing matters, everything matters, London, 2003, pg. 48, no. 40 (illustrated)

231

2 31

WOLFGANG TILLMANS

b. 1968

Kitchen after party, 1992, printed 1993 Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Wolfgang Tillmans Kitchen after party ph.Oct 92 Pr. WT Oct 93” and numbered of three on the reverse. This work is from an edition of three plus one artist’s proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Interim Art/Maureen Paley, London LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p. (illustrated)

232

PAUL McCARTHY

b. 1945

Meat Cake 2, Odd Fellows Temple, Pasadena, CA, 1978, 1995 C-print mounted to aluminum. 37 3/8 x 25 3/4 in. (94.9 x 65.4 cm). Signed and dated “Paul McCarthy 95” on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Acquired directly from the artist

233

PAUL M C CARTHY

b. 1945

Baby Boy 2, 1982, 1996 C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated “Paul McCarthy 1996” and numbered of five on the reverse. This work is from an edition of five.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Tomio Koyama Gallery, Tokyo EXHIBITION Los Angeles, Museum of Contemporary Art, Paul McCarthy,

November 12, 2000 - January 21, 2001 (another example exhibited)

234

PAUL M C CARTHY

b. 1945

Baby Boy 1, 1982, 1996 C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated “Paul McCarthy 1996” and numbered of five on the reverse. This work is from an edition of five.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Tomio Koyama Gallery, Tokyo EXHIBITED Los Angeles, Museum of Contemporary Art, Paul McCarthy,

November 12, 2000 - January 21, 2001 (another example exhibited)

235

RICHARD PRINCE

b. 1949

Untitled (For Richard Prince Can’t Wait Pamela Anderson), 1997 Publicity photograph with felt-tip pen. 10 x 8 in. (25.4 x 20.3 cm). Inscribed “For Richard Prince Can’t Wait Pamela Anderson” on the face and reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Anton Kern Gallery, New York

236

RICHARD PRINCE

b. 1949

Untitled (Cowboys), 1992 Ektacolor photograph. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Initialed “RP” on the reverse. This work is from an edition of 26.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Per Skarstedt Fine Art, New York; Gagosian Gallery, New York LITERATURE R. Prince, Richard Prince Adult Comedy Action Drama, Berlin, 1995,

p. 231 (illustrated)

2 37

ANDRES SERRANO

b. 1950

A History of Sex (The Mime), 1995 Cibachrome, silicone and Plexiglas in the artist’s wooden frame. 45 1/8 x 37 3/4 in.

(114.6 x 95.9 cm). Signed and titled “Andres Serrano A History of Sex (The Mime)” and numbered of seven on the reverse. This work is from an edition of seven.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Paula Cooper Gallery, New York LITERATURE M. Wilson, A History of Andres Serrano: A History of Sex, Amsterdam,

1997, p. 92 (illustrated)

238

ANDRES SERRANO

b. 1950

A History of Sex (Head), 1996 Cibachrome, silicone and Plexiglas in the artist’s wooden frame. 45 1/8 x 37 3/4 in.

(114.6 x 95.9 cm). Signed and titled “Andres Serrano A History of Sex (Head)” and numbered of seven on the reverse. This work is from an edition of seven.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Paula Cooper Gallery, New York; juana de aizpuru, Madrid

239

239

MATTHEW BARNEY

b. 1967

A Pele da Lamina, 2004 C-print in the artist’s high-density polyethylene frame. 28 3/4 x 19 1/2 x 2 1/2 in.

(73 x 49.5 x 6.4 cm). Signed and dated “Matthew Barney 04” on the reverse.

This work is from an edition of 50 plus 10 artist’s proofs.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Barbara Gladstone Gallery, New York EXHIBITED Palermo, Galleria Civica d’Arte Moderna, Heretic: Transcendence and

Profanity in Contemporary Art, July 27 - September 20, 2006 (another example exhibited) LITERATURE D. Paparoni, Heretic: Transcendence and Profanity in Contemporary Art,

Milan/Geneva, 2006, n.p. (illustrated)

24 0

LORETTA LUX

b. 1969

Milo 2, 2004 Ilfochrome print. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm). Signed, titled and dated “Loretta Lux 2004 Milo 2” on the reverse. This work is a printer’s proof from an edition of 20 plus one printer’s proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Yossi Milo Gallery, New York; In Motion Benefit Auction,

March 14, 2005 EXHIBITED Southampton (New York), Parrish Art Museum, All the More Real:

Portrayals of Intimacy and Empathy, August 12 - October 14, 2007 (another example exhibited); Louisville (Kentucky), 21c Museum, Creating Identity: Portraits Today, August 14 - December 31, 2009 (another example exhibited) LITERATURE M. W. Weiss, “’All The More Real: Portrayals of Intimacy and Empathy’

at the Parrish,” Dan’s Hamptons, Issue #24, September 7, 2007

240

241

GREGORY CREWDSON

b. 1962

Untitled (sleep walker), 1999 C-print. 47 1/2 x 59 1/2 in. (120.7 x 151.1 cm). Signed “Gregory Crewdson” on a label adhered to the reverse. This work is an artist’s proof from an edition of 10 plus two artist’s proofs.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Luhring Augustine, New York LITERATURE S. Berg, ed., Gregory Crewdson 1985 - 2005, Hanover, 2005, pl. 40 (illustrated)

242

FRANK THIEL

b. 1966

Stadt 10/06/A (Berlin), 2001 Chromogenic print face-mounted to Plexiglas. 71 1/4 x 100 5/8 in. (181 x 255.6 cm).

Signed, titled, dated “Frank Thiel Stadt 10/06/A (Berlin) 2001” and numbered of four on the reverse. This work is from an edition of four.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Sean Kelly Gallery, New York EXHIBITED New York, Sean Kelly Gallery, Frank Thiel, February 9 - April 6, 2002

(another example exhibited) LITERATURE F. Thiel, Frank Thiel: A Berlin Decade 1995 - 2005, Ostfildern-Ruit, 2007,

p. 40 (illustrated)

24 3

FLORIAN MAIER-AICHEN

b. 1973

Untitled (Factory), 2001 C-print. 49 1/4 x 63 3/4 in. (125.1 x 161.9 cm) paper size. Signed and dated “Florian Maier Aichen 2001” and numbered of six on the reverse of the backing board.

This work is from an edition of six.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Blum & Poe, Los Angeles; Gallery MinMin, Tokyo

24 4

JEAN-LUC VILMOUTH

b. 1952

Vue d’une chaise, 1986 Wooden chair and 19 cibachrome photographs. Chair: 32 5/8 x 14 1/2 x 14 1/2 in.

(82.9 x 36.8 x 36.8 cm); photographs: 13 1/4 x 15 3/4 in. (33.7 x 40 cm) each.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Galleria Francesca Kaufmann, Milan; Private collection, Miami

24 5

LORNA SIMPSON

b. 1960

Coiffure, 1991 Three gelatin silver prints and 10 engraved plastic plaques. 81 5/8 x 127 1/4 x 1 3/4 in.

(207.3 x 323.2 x 4.4 cm) overall. Signed “Lorna Simpson” on a label adhered to the reverse of the left panel; signed and titled “Lorna Simpson coiffure” on the reverse of the center panel. This work is an artist’s proof from an edition of three plus one artist’s proof.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Sean Kelly Gallery, New York EXHIBITED Minneapolis, Walker Arts Center, November 5, 1994 - March 26, 1995;

Miami, Center for Fine Arts, Duchamp’s Leg, December 2, 1995 - March 3, 1996 (another example exhibited); Los Angeles, Museum of Contemporary Art, April 16 - July 10, 2006; Miami Art Museum, October 13, 2006 - January 21, 2007; New York, Whitney Museum of American Art, February 8 - May 6, 2007; Kalamazoo (Michigan), Kalamazoo Institute of Arts, May 25 - August 19, 2007; Charleston (South Carolina), Gibbes Museum of Art, Lorna Simpson, September 7 - December 2, 2007 (another example exhibited); Washington D.C., Corcoran Gallery of Art, The American Evolution: A History through Art, March 1 July 27, 2008 (another example exhibited) LITERATURE J. Haber, “Trying So Hard to Forget,” Haber’s Art Reviews (online content),

2007; A. Cheimets, “Parallel Evolution American History Through Art,” The Georgetown Independent, Washington D.C., March 31, 2008

SESSION II

2pm

Lots 24 6 - 3 6 4

24 6

JIM HODGES

b. 1957

Untitled (Landscape IV), 2000 - 2001 Collaged sheet music and graphite mounted on matte board. 25 1/2 x 21 1/8 in.

(64.8 x 53.7 cm). Initialed “JH” lower left and numbered “4” lower right.

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE CRG Gallery, New York

247

CHRISTOPHER WOOL

b. 1955

Untitled (R27), 1990 Alkyd on rice paper. Signed and dated “Wool 1990” on the reverse. 74 X 39 1/2 in.

(188 X 100.3 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Galerie Helen van der Meij, Amsterdam; Jack Hanley Gallery,

San Francisco

24 8

CHRISTOPHER WOOL

b. 1955

Untitled, 1988 Alkyd on paper. 64 3/8 X 32 1/8 in. (163.5 X 81.6 cm). Signed and dated “Wool 1988” on the reverse.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Luhring Augustine, New York; Jack Hanley Gallery, San Francisco

249

249

RAYMOND PETTIBON

b. 1957

No Title (Wall Street’s Chosen Few...), 2000 Ink and watercolor on paper. 16 x 13 7/8 in. (40.6 x 35.2 cm). Signed and dated “Raymond Pettibon 2000” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Private Collection

250

25 0

RAYMOND PETTIBON

b. 1957

No Title (An epitaph could not be found…), 1999 Ink and watercolor on paper. 13 1/2 x 12 1/2 in. (34.3 x 31.8 cm). Signed and dated “Raymond Pettibon 4/99” on the reverse.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Private Collection

251

ARTURO HERRERA

b. 1959

Bedspray (Blue/Green), 2005 Paper cutout on paper. 62 x 71 1/2 in. (157.5 x 181.6 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Brent Sikkema, New York

(i)

(ii)

252

MARTIN EDER

b. 1968

Two works: Untitled, 2002 Ink and graphite on paper. 11 1/8 x 8 5/8 in. (28.3 x 21.9 cm) and 11 1/8 x 8 7/8 in.

(28.3 x 22.5 cm). Signed and dated “Martin Eder 8/02” on lower right; signed and dated “Martin Eder 2/02” on lower right.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Private collection, Germany LITERATURE (i) Brandenburgischer Kunstverein, ed., Memoirs of My Nervous Illness,

Potsdam, 2003, n.p. (illustrated)

25 3

ELLEN GALLAGHER

b. 1965

Untitled, 1997 Watercolor and ink on misu paper. 39 x 25 1/4 in. (99.1 x 64.1 cm). Signed and dated “Ellen Gallagher 1997” lower right.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Long Point Gallery, Provincetown (Massachusetts); Private

collection, Boston EXHIBITED Provincetown (Massachusetts), Long Point Gallery, Invitational Exhibition,

June 22 - July 10, 1997

25 4

TAL R

b. 1967

Nü, 2001 Oil on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm).

Estimate $ 7 0 , 0 0 0 - 9 0 , 0 0 0 PROVENANCE Contemporary Fine Arts, Berlin EXHIBITED Horsens Kunstmuseum, Tal R: Ike Og Ancher, February 2 - April 14, 2002;

Mönchengladbach, Stästisches Museum Abteiberg, Tal R: Fruitland, May 9 - June 16, 2002 LITERATURE Stästisches Museum Abteiberg , ed., Tal R: Fruitland, Mönchengladbach,

2002, n.p. (illustrated); Tal R, ed., Ike Og Ancher, Horsens, 2002, n.p. (illustrated)

Photo: Jochen Littkemann/Courtesy of Contemporary Fine Arts, Berlin

255

255

KEHINDE WILEY

b. 1977

St. John the Baptist II (study), 2006 Graphite on paper in the artist’s frame. 26 3/4 x 22 3/4 in. (67.9 x 57.8 cm). Signed and dated “Kehinde Wiley 06” on the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Roberts & Tilton, Los Angeles; Private collection, Los Angeles EXHIBITED Los Angeles, Roberts & Tilton, June 3 - July 8, 2006; Columbus Museum of

Art, Kehinde Wiley: Columbus, September 8, 2006 - January 7, 2007 LITERATURE S. Van Den Burg, Kehinde Wiley, Drawings & Notes (online content),

August 9, 2009 (illustrated)

256

25 6

PAUL P.

b. 1977

Untitled (Lamplight), 2002 Oil on canvas. 24 x 18 in. (61 x 45.7 cm). Signed, titled and dated “Paul P Untitled Lamplight 2002” twice on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Other Gallery, Winnipeg

257

JULIA JACQUETTE

b. 1964

Men and Women (Fighting), 2003 Oil on linen. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “Julia Jacquette Men and Women (Fighting) 2003” on the reverse.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Michael Steinberg Fine Art, New York

25 8

MARK LOMBARDI

1951 - 2000

Untitled (all parties-BCCI, Nugan Hand, et. al.), 1997 Graphite on paper. 10 7/8 x 14 in. (27.6 x 35.6 cm).

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Pierogi, New York

259

MARK LOMBARDI

1951 - 2000

Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90 2nd version, 1990 Graphite on paper. 24 1/8 x 53 7/8 in. (61.3 x 136.8 cm). Signed, titled and dated “Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90 2nd version ML © MCMXCV” center left.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Pierogi, New York; Galerie Gabrielle Maubrie, Paris

260

THOMAS NOZKOWSKI

b. 1944

Untitled (X-10), 1991 Oil on paper. 10 1/4 x 16 1/4 in. (26 x 41.3 cm). Signed, titled and dated “Untitled 1991 oil on paper X-10 Thomas Nozkowski” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Max Protetch, New York; Private Collection

2 61

DANIEL RICHTER

b. 1962

Heidelandschaft (Heathland), 2003 Oil, graphite and adhesive on paper. 28 1/2 x 14 3/4 in. (72.4 x 37.5 cm). Initialed, titled and dated “Heidelandschaft DR 03” lower right.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Contemporary Fine Arts, Berlin; David Zwirner, New York

262

263

262

PHILIP TAAFFE

b. 1955

263

PHILIP TAAFFE

b. 1955

Untitled, 1987

Untitled, 1987

Ink, watercolor and gouache on paper. 27 1/2 x 39 1/2 in. (69.9 x 100.3 cm).

Acrylic on paper. 22 x 34 in. (55.9 x 86.4 cm). Signed and dated “P. Taaffe 1987” lower right.

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Acquired directly from the artist; Private collection, USA

PROVENANCE Galleria Cardi, Milan

(ii)

(i)

(iii)

(iv)

264

RAYMOND PETTIBON

b. 1957

PROVENANCE (i) Georg Kargl Fine Arts, Vienna; (ii) Galerie Jürgen Becker, Hamburg;

Four works: (i) No Title (Please, no moralizing...), (ii) No Title (Baby Doll...), (iii) No

(iii), (iv) Contemporary Fine Arts, Berlin

Title (In the fields...), (iv) No Title (Oh, wither away...), (i) 1990, (ii) 1991, (iii) 1995, (iv)

EXHIBITED (i) Bolzano (Italy), Museion, January 31 - May 18, 2003; Museo d’Arte

1997

Moderna di Bologna, Raymond Pettibon Drawings 1979 - 2003, June 26 - August 31, 2003;

(i) Ink on paper, (ii) ink, felt-tip pen and watercolor on paper, (iii) ink and watercolor on paper, (iv) ink, colored pencil and graphite on paper. (i) 18 x 11 7/8 in. (45.7 x 30.2 cm); (ii) 12 3/8 x 12 in. (31.4 x 30.5 cm), (iii) 15 3/4 x 7 1/2 in. (40 x 19.1 cm), (iv) 26 1/8 x 18 7/8 in. (66.4 x 47.9 cm). Each signed and dated on the reverse.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

(i) - (iv) Vienna, Kunsthalle Wien, Raymond Pettibon Whatever it is You’re Looking for You Won’t Find it Here, October 13 - February 25, 2007 LITERATURE (ii), (iii), (iv) T. Miessgang, G. Matt, E. Dimendberg, Raymond Pettibon

Whatever it is You’re Looking for You Won’t Find it Here, Nuremberg, 2007 (illustrated) pp. 68, 120, 220

265

CECILY BROWN

b. 1969

Cottage No 3, 1991 Oil on canvas. 36 1/5 x 31 1/8 in. (91.9 x 79.1 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist

266

(i)

(ii)

266

AMELIE VON WULFFEN

b. 1966

2 67

AMELIE VON WULFFEN

b. 1966

Two works: Untitled (White Horse) and Untitled (Tree and arch, pink), 2004 and 2003

Untitled, 2002

Ink, acrylic, watercolor and collaged photograph on paper. 22 x 29 3/4 in. (55.9 x

Graphite, watercolor, oil and photographic collage on paper. 47 3/4 x 58 1/2 in.

75.6 cm) and 36 x 35 1/2 in. (91.4 x 90.2 cm). Each signed and dated on the reverse.

(121.3 x 148.6 cm). Signed and dated “V. Wulffen 2002” on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Greene Naftali, New York

PROVENANCE Private collection, Europe

EXHIBITED (ii) New York, Greene Naftali, Amelie von Wulffen: Paare. Möbel. Landschaften.,

February 20 - March 20, 2004

267

268

NEAL TAIT

b. 1965

Untitled (Dead Houses), 2000 Oil on canvas. 36 1/4 x 46 1/4 in. (92.1 x 117.5 cm). Signed, titled and dated “Untitled Dead Houses Neal 00” on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE White Cube, London

269

269

JESSICA STOCKHOLDER

270

b. 1959

SHAAN SYED

b. 1975

Turning Paper, 2000

And When You’re (Really) High No. 5, 2007

Acrylic, fabric, glue and linoleum on board. 40 1/2 x 50 3/4 in. (102.9 x 128.9 cm).

Oil on canvas. 72 1/2 x 64 in. (184.2 x 162.6 cm). Signed, titled and dated “Shaan

This work is unique.

Syed And When You’re (Really) High No. 5 2007” on the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Galerie Nathalie Obadia, Paris

PROVENANCE Brown, London

270

271

JONATHAN LASKER

b. 1948

Untitled, 1990 Crayon on paper. 22 1/4 x 30 in. (56.5 x 76.2 cm). Signed and dated “J. Lasker 1990” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Galerie Thaddaeus Ropac, Paris

272

RICHARD WOODS

b. 1966

Personal History, 2001 Mixed media paint on MDF wood (in 17 parts). 119 3/4 x 240 in. (304.2 x 609.6 cm) overall. Signed and dated by the artist on the reverse.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Modern Art, London

Adding architectural motifs or caricatures back into a real building is a simple way of highlighting what’s already there. This language is used because hopefully it emphasizes that I am not making a claim that the works I make are architecture, but are playful vehicles by which we can reassess the structures that already exist. […] It’s important to me that the work has both a graphic resonance as well as a DIY aesthetic. This combination allows the works to physically sit on the existing architecture, but also to remain separate from its architectural host.

—Richard Woods, in an interview with Lily Rose, Whitewall Magazine, “Richard Woods at City Hall,” New York, July 28, 2009 Richard Woods has made a name for himself recreating the everyday world around us. Melding art, architecture and design, the artist redistributes and transforms our mundane into other worldly fine art.

Playing with the idea of a commonly used item, Woods reinterprets that meaning by juxtaposing art historical references and cues from nature. In recent years, Woods has also begun creating coverings for the outside of houses, turning various homes into mock-Tudor mansions and restyling an Oxford college building as a red-brick home, making it appear both splashy and suburban at the same time.

One is meant to live with the artist’s creations and enjoy it with all senses.

273

KEITH TYSON

b. 1969

Studio Wall Drawing September 1999 (The consequences of addition), No. 1, 1999 Gouache, watercolor, felt-tip pen and adhesive on paper. 60 3/8 x 47 3/4 in. (153.4 x 121.3 cm). Signed “K. Tyson” on the reverse of the backing board.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Anthony Reynolds Gallery, London

274

RYAN McGINNESS

b. 1971

The Greatest Good for the Greatest Number, 2006 Acrylic and urethane in Plexiglas vitrines (in nine parts). 24 1/2 x 24 1/2 in.

(62.2 x 62.2 cm) each. Each signed and dated “Ryan McGinness 2006” on the overlap.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Acquired directly from the artist

275

THOMAS GRÜNFELD

b. 1956

Misfit (Flamingo), 1998 Taxidermied flamingo and canine sculpture. 32 3/4 x 12 x 20 1/2 in. (83.2 x 30.5 x 52.1 cm).

This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Galleria Massimo De Carlo, Milan; Private collection, Switzerland EXHIBITED Cologne, Kölnischer Kunstverein, Déformation Professionelle, October 1997 LITERATURE E. Frank, “Thomas Grünfeld: The Misfits”, Antennae, Issue 7, Autumn

2008, p. 24 (illustrated); R. Altstatt, “Thomas Grunfeld at Kolnischer Kunstverein,” Art in America, March 1998; U. Grosenick and B. Riemschneider, eds., Art at the Turn of the Millennium, Cologne, 1999, p. 20, no. 01

276

SEAN LANDERS

b. 1962

Half beaten down, yet cautiously optimistic, 1997 Oil on linen. 38 1/4 x 32 in. (97.2 x 81.3 cm). Signed and dated “© 1997 Sean Landers” lower right.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Andrea Rosen Gallery, New York

27 7

CAROL BOVE

b. 1971

Christine, 2001 Ink on transparentized vellum. 40 x 30 1/2 in. (101.6 x 77.5 cm).

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Team Gallery, New York

278

SHAHZIA SIKANDER

b. 1969

Five works: Untitled, 1997 Gouache on rice paper. 13 5/8 x 8 in. (34.6 x 20.3 cm) - 19 1/4 x 11 3/8 in. (48.9 x 28.9 cm).

Signed “Shahzia” on face.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Deitch Projects, New York

279

DANIEL HESIDENCE

b. 1975

Untitled (1 7 3 6), 2005 Oil on canvas. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Daniel Hesidence 1 7 3 6 05” and accompanied by the artist’s hair wax sealed to the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Feature Inc., New York

280

SUE WILLIAMS

b. 1954

Shoes Take a Backseat (Green, Orange, and Blue), 1998 Oil and acrylic on canvas. 96 1/8 x 104 1/2 in. (244.2 x 265 cm). Signed, titled and dated “Sue Williams Shoes Take a Backseat (Green Orange + Blue) 98” on the reverse.

Estimate $ 4 5 , 0 0 0 - 6 5 , 0 0 0 PROVENANCE Jean Bernier, Athens

2 81

KEITH HARING

1958 - 1990

Untitled, 1981 Watercolor and oil on paper. 38 x 50 in. (96.5 x 127 cm). Signed and dated “K. Haring 1981� on the reverse. This work is accompanied by a certificate of authenticity issued by the Estate of Keith Haring.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York; Private collection, New York

282

RYAN McGINNESS

b. 1971

The Transparent Reflection of Reality, 2007 Acrylic on canvas. 96 1/4 x 96 1/4 x 2 5/8 in. (244.5 x 244.5 x 6.7 cm). Signed, titled and dated “Ryan McGinness The Transparent Reflection of Reality 2007” on the overlap.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Deitch Projects, New York

283

283

SOL LEWITT

1928 - 2007

Untitled, 2001 Gouache on paper. 29 1/4 x 11 1/4 in. (74.3 x 28.6 cm). Signed and dated “S. Lewitt 01” lower right.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Gifted by the artist to the present owner

284

SOL LEWITT

1928 - 2007

Untitled, 2003 Gouache on paper. 11 1/4 x 11 in. (28.6 x 27.9 cm). Signed and dated “S. Lewitt 03” lower right.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Acquired directly from the artist

284

285

SOL LEWITT

1928 - 2007

Untitled, 2003 Gouache on paper. 30 1/8 x 29 7/8 in. (76.5 x 75.9 cm). Signed and dated “S.Lewitt 03” lower right.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Gifted by the artist to the present owner

286

SAM FRANCIS

1923 - 1994

Untitled, 1964

The space at the center of these paintings is reserved for you.

Acrylic on paper. 42 1/8 x 29 1/2 in. (107 x 74.9 cm). Signed, dated “Sam Francis 1964” and stamped with the Estate seal on the reverse. This work is registered with the Estate, number SF64-053.

Sam Francis, aphorism referring to Edge paintings, taken from Sam Francis, Edition Cantz, 1993

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE ACE Gallery, Beverly Hills

The present lot, one of Sam Francis’ very first Edge pieces, is significant

EXHIBITED Bern, Galerie Kornfeld und Klipstein, Sam Francis, 1976; Paris, Galerie

to the artist’s personal history as it was completed prior to him moving

Jean Fournier, Sam Francis de 1947 A 1988: sur Papier, October 21 - November 26, 1988;

full time to Tokyo in 1965. The colors in this piece are more vibrant and

Beverly Hills, ACE Gallery, Sam Francis, March 1 - July 28, 2003 LITERATURE This work will be included in the forthcoming Sam Francis catalogue

auspicious than in subsequent works from the series and is a testament

raisonné of works on paper to be published by University of California Press, Berkeley

to the very nature of Francis’ lifelong formal discourse with color.

2 87

DAVID SALLE

b. 1952

Songs for Sale, 2004 Oil and acrylic on canvas. 42 x 66 in. (106.7 x 167.6 cm). Signed, titled and dated “David Salle Songs for Sale 2004” on the reverse. This work is accompanied by three photographs each signed by the artist.

Estimate $ 7 0 , 0 0 0 - 9 0 , 0 0 0 PROVENANCE Acquired directly from the artist

288

288

RICHARD PETTIBONE

b. 1938

Neo Plasticism Piet Mondrian Tableau No. 1 1925, 1995 Acrylic on canvas in the artist’s wooden frame. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm).

Inscribed “R Pettibone 1995 Neo Plasticism Piet Mondrian Tableau No 1 1995” on the stretcher bar; stamped “Piet Mondrian Tableau No 1 1925 RP 95” on the reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Michael Kohn Gallery, Los Angeles

289

289

RICHARD PETTIBONE

b. 1938

Shaker One Drawer Stand and Endless Column, 1987 Carved maple and cherry wood. 55 3/8 x 17 x 14 in. (140.7 x 43.2 x 35.6 cm). Signed and dated “Richard Pettibone 1987” on the underside of back leg.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED New York, Curt Marcus Gallery, Richard Pettibone, January 11 - February 4,

1989; The Arts Club of Chicago, Richard Pettibone: Sculpture, January 31 - March 11, 2005; Philadelphia, Institute of Contemporary Art, University of Pennsylvania, April 30 - July 31, 2005; Saratoga Springs (New York), Tang Museum and Art Gallery at Skidmore College, November 19, 2005 - February 12, 2006; Laguna Beach (California), Laguna Art Museum, Richard Pettibone: A Retrospective, March 12 - May 28, 2006 LITERATURE I. Berry, M. Duncan, Richard Pettibone: A Retrospective, Saratoga

Springs, 2005, p. 143 (illustrated)

290

ROBERT RAUSCHENBERG

1925 - 2008

Sling-Shots Lit #3, 1985 Lithograph and screenprint on paper and assemblage with sailcloth, Mylar, wooden lightbox, fluorescent light fixture, aluminum moveable window shade system and Plexiglas bars. 84 1/2 x 50 1/4 x 12 1/2 in. (214.6 x 127.6 x 31.8 cm).

This work is from an edition of 25 plus seven artist’s proofs.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Published by Gemini G.E.L., Los Angeles EXHIBITED Portland, Elizabeth Leach Gallery, Robert Rauschenberg & Gregg Renfrow:

Color Field Paintings, February 5 - 28, 2004 (another example exhibited)

2 91

ALFRED JENSEN

1903 - 1981

Equality III, 1972 Oil on canvas. 36 x 24 in. (91.4 x 61 cm). Signed, titled and dated “Equality III 1972 Alfred Jensen” on the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist; Private collection, Europe; Collection

Dr. & Mrs. Arvin J. Klein, San Diego; Margo Leavin Gallery, Los Angeles EXHIBITED La Jolla (California), Wenger Gallery, Alfred Jensen-One-Man Exhibit,

July - August, 1978; San Diego Museum of Art, Insight: Selections from San Diego Private Collections, April 23 - June 13, 1983

292

ALLEN RUPPERSBERG

b. 1944

The Singing Posters, Poetry Sound Collage, Sculpture Book, 2003 Printed Colby posters and Xerox copies. 132 x 168 1/4 x 57 1/2 in.

(335.3 x 427.4 x 146.1 cm) as installed.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED L’Institut d’Art Contemporain de Villeurbanne, 8th Biennale de Lyon:

Experiencing Duration, September 14 - December 31, 2005; Kunsthalle Düsseldorf, Allen Ruppersberg One of Many - Origins and Variants, December 11, 2005 - February 19, 2006 LITERATURE Kunsthalle Düsseldorf, ed., Allen Ruppersberg One of Many - Origins and

Variants, Cologne, pp. 185 - 190 (illustrated)

293

RICHARD TUTTLE

b. 1941

White Spacer, 1980 Graphite, ink and felt-tip pen on paper (in nine parts). 7 3/4 x 6 in. (19.7 x 15.2 cm) each; 17 1/2 x 38 1/4 in. (44.5 x 97.2 cm) overall. Signed and dated “Richard Tuttle 1980” on the reverse of top right element.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Margo Leavin Gallery, Los Angeles EXHIBITED New York, Leo Castelli Gallery, Foundation for Contemporary Performance

Art 30th Anniversary Exhibition of Drawings, December 11, 1993 - January 8, 1994

294

TONY SMITH

1912 - 1980

Untitled, 1953 Ink on paper (in four parts). 5 7/8 x 3 7/8 in. (14.9 x 9.8 cm) each; 5 7/8 x 23 1/4 in.

(14.9 x 59.1 cm) overall.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Matthew Marks Gallery, New York; James Kelly Contemporary, Santa

Fe; Marc Selwyn Fine Art, Los Angeles

295

RONI HORN

b. 1955

Hollowed Mass Group II:5, 1984 - 1985 Solid cast lead. 6 x 10 3/4 x 12 in. (15.2 x 27.3 x 30.5 cm).

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Galerie Lelong, New York EXHIBITED New York, Hunter College Art Galleries, Text and Touch, October 7Â -

November 15, 1997

296

RICHARD TUTTLE

b. 1941

Untitled (In the Air), 1976 Colored pencil on paper (in eight parts). 10 x 8 in. (25.4 x 20.3 cm) each. Each signed “R Tuttle” on the reverse except for top right.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Brooke Alexander Gallery, New York

297

298

2 97

DONALD JUDD

1928 - 1994

Untitled, 1971 Stainless steel and Plexiglas. 4 x 27 x 23 in. (10.2 x 68.6 x 58.4 cm). Inscribed, dated “Don Judd DJ71-2028 © Gemini G.E.L 1971” and numbered of 50 and stamped on the underside. This work is from an edition of 50.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

•

PROVENANCE Gemini G.E.L., Los Angeles

298

LORIS CECCHINI

b. 1969

Thm (Milano), 2002 Urethane rubber. 35 x 17 x 11 in. (88.9 x 43.2 x 27.9 cm). This work is an artist’s proof from an edition of three plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Galleria Continua, San Gimignano

299

KIKI SMITH

b. 1954

Untitled (Hands Waving), 2002 Lithograph and ink on paper collage with two mirrored discs on Nepal paper.

37 1/2 x 31 in. (95.3 x 78.7 cm). Signed and dated “Kiki Smith 2002� lower right.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Donated by the artist to the Expect Art Benefit Auction, New York,

May 12, 2002

(i)

(ii)

300

DONALD SULTAN

b. 1951

Three works: (i) Wall Flowers Feb 9, 1994, (ii) Wall Flowers January 19, 1994, (iii) Wall Flowers Jan 17, 1994, 1994 Tempera and graphite on handmade paper. 11 1/2 x 8 in. (29.2 x 20.3 cm) each.

Each signed, titled and dated (i) “Wall Flowers Feb 9, 1994,” (ii) “Wall Flowers January 19, 1994,” (iii) “Wall Flowers Jan 17, 1994” along left edge.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Paul Kasmin Gallery, New York

(iii)

3 01

DONALD BAECHLER

b. 1956

Untitled (Black Flowers), 2003 Acrylic and fabric collage on canvas. 24 x 24 in. (61 x 61 cm). Signed, initialed and dated “Donald Baechler 2003 DB ‘03” twice on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Private collection, New York

302

GENE DAVIS

1920 - 1985

Untitled, 1979 Acrylic and graphite on canvas. 41 x 28 in. (104.1 x 71.1 cm). Signed, titled and dated “Gene Davis Untitled 1977” on the reverse.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 PROVENANCE Droll/Kolbert Gallery, New York; Collection Lois and David Coleman,

Michigan and California; Art Resources Group, Newport Beach (California)

303

ROSS BLECKNER

b. 1949

Untitled, 1999 Oil on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed and dated “Ross Bleckner 1999” on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Acquired directly from the artist

304

KENNY SCHARF

b. 1958

Stay Tuned, 1983 Oil and spray-paint on canvas. 24 x 47 3/4 in. (61 x 121.3 cm). Signed, titled and dated “Kenny Scharf Stay Tuned 1983” on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York; Nicole Klagsbrun, New York

305

DAVID SALLE

b. 1952

Pale Skin, 2005 Oil on linen. 48 x 72 in. (121.9 x 182.9 cm). Signed, titled and dated “David Salle ‘Pale Skin’ 2005” on the reverse.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 PROVENANCE Mary Boone Gallery, New York

306

GEORGE CONDO

b. 1957

Nihilistic Lesson #1, 1986 Tinted varnish, graphite, colored pencil and ballpoint pen on canvas. 80 1/8 x 138 in.

(203.5 x 350.5 cm). Signed and dated “Condo 86” lower right. This work is accompanied by a photograph signed and titled “Condo Nihilistic Lesson #1” by the artist.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Barbara Gladstone Gallery, New York; Vrej Baghoomian Gallery, New

York; Private collection, Connecticut; PaceWildenstein, New York

(Details of the present lot)

45237

307

308

3 07

JEAN-MICHEL BASQUIAT

1960 - 1988

Untitled, circa 1977 Ink and felt-tip pen on paper. 10 x 8 in. (25.4 x 20.3 cm). Signed “Basquiat” lower right. This work is accompanied by a certificate of authenticity issued by the Estate of Jean-Michel Basquiat.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist

308

CARROLL DUNHAM

b. 1949

Untitled (9/25/96, 10/2/96, 10/3/96), 1996 Crayon and graphite on paper. 16 1/2 x 11 1/4 in. (41.9 x 28.6 cm). Signed and dated “9/25/96, 10/2/96, 10/3/96 C. Dunham” lower edge.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Gladstone Gallery, New York; Nolan/Eckman Gallery, New York

309

ERIK PARKER

b. 1968

Hello Sunshine, 2004 Acrylic and felt-tip pen on canvas. 84 x 84 in. (213.4 x 213.4 cm). Signed, titled and dated “Erik Parker ‘Hello Sunshine’ 2004” on the overlap.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Arndt & Partner, Berlin EXHIBITED Berlin, Arndt & Partner, Erik Parker - Rechanneled Sincerity, April 24 -

June 19, 2004

310

HIDEAKI KAWASHIMA

b. 1969

Collapse, 2004 Acrylic on canvas. 12 1/2 x 16 1/8 in. (31.8 x 41 cm). Signed, titled and dated “Kawashima [in Japanese] collapse 2004” on the overlap.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Tomio Koyama Gallery, Tokyo

311

JULIE ROBERTS

b. 1963

Child, 1994 Oil and acrylic on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed, titled and dated “Julie Roberts ‘Child’ 1994” on the overlap.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Tanya Bonakdar Gallery, New York; Sean Kelly Gallery, New York

312

Artwork Š2004/Mr./Kaikai Kiki Co. Ltd., All Rights Reserved

313

312

MR.

b. 1969

Two works: Sushicchi and Kita Asaka-chan, 2004 Acrylic on fiberglass reinforced plastic. 5 x 3 1/2 x 4 in. (12.7 x 8.9 x 10.2 cm) each.

These works are unique.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Tomio Koyama Gallery, Tokyo

313

CEAL FLOYER

b. 1968

Helix, 2003 Painted wooden shelf, plastic Helix metric circles template and 32 found objects.

11 3/4 x 7 7/8 x 5 in. (29.8 x 20 x 12.7 cm) overall.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Casey Kaplan, New York

314

315

314

WAYNE GONZALES

b. 1957

315

WAYNE GONZALES

b. 1957

Face Painting, 1995

Face Painting, 1995

Acrylic and metallic paint on canvas. 18 in. (45.7 cm) diameter. Signed and dated

Acrylic and metallic paint on canvas. 18 in. (45.7 cm) diameter. Signed and dated

“W Gonzales 1995” on the reverse.

“W Gonzales 1995” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 7, 0 0 0 - 9 , 0 0 0

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist

316

317

316

JONATHAN SELIGER

b. 1955

317

JONATHAN SELIGER

b. 1955

Dear Odette, 2002

Entre Nous (Cabana), 2001

Oil, alkyd, acrylic, modeling paste and varnish on canvas. 27 x 32 1/2 x 7 1/4 in.

Oil, alkyd, acrylic, modeling paste and varnish on canvas. 19 3/4 x 18 x 7 in.

(68.6 x 82.6 x 18.4 cm). Signed, titled and dated “Seliger 2002 Dear Odette” on

(50.2 x 45.7 x 17.8 cm). Signed, titled and dated “Seliger Entre Nous (Cabana) 2001”

the underside.

on the underside.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

PROVENANCE Jack Shainman Gallery, New York

PROVENANCE Jack Shainman Gallery, New York

EXHIBITED Boston, Ars Libri, GDP: Gross Domestic Product, July 30 - September 28, 2008

EXHIBITED Boston, Ars Libri, GDP: Gross Domestic Product, July 30 - September 28, 2008

LITERATURE C. McQuaid, “Two new takes on packaging are in the bag,”

LITERATURE C. McQuaid, “Two new takes on packaging are in the bag,”

The Boston Globe, July 30, 2008

The Boston Globe, July 30, 2008

318

KENNY SCHARF

b. 1958

Swoosh, 1996 Cast bronze. 16 x 14 1/2 x 7 1/4 in. (40.6 x 36.8 x 18.4 cm). Inscribed and dated “Kenny Scharf ‘96” and numbered of four along lower rear edge. This work is from an edition of four.

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York

319

TODD HEBERT

b. 1972

Dew, Bottle, 2005 Acrylic on canvas over panel. 84 x 60 in. (213.4 x 152.4 cm). Signed, titled and dated “T. Hebert Dew, Bottle 2005” on the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Bellwether, New York EXHIBITED Ridgefield (Connecticut), The Aldrich Contemporary Art Museum, Todd

Hebert: 2005 Aldrich Emerging Artist Award Recipient, October 16, 2005 - March 12, 2006

320

IÑIGO MANGLANO - OVALLE

b. 1961

Paternity Test (self-portrait with parents), 1999 Triptych: three color photographs mounted to Plexiglas. 63 x 20 in. (160 x 50.8 cm) 70 x 20 in. (177.8 x 50.8 cm) each. Each signed “Iñigo Manglano-Ovalle” on a label adhered to the reverse. This work is unique.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Max Protetch, New York

Paternity Test (Self-portrait with Parents), a unique work from Manglano-Ovalle’s groundbreaking DNA-Portrait series, uses genomic technology to critique the infamous tradition of casta (caste) painting in eighteenth and nineteenth-century Spain. During that time, Spanish colonials commissioned casta paintings to illustrate the different racial “mixtures” that were developing in the New World.

Himself a Spanish immigrant, Manglano-Ovalle’s work frequently explores issues of race and acculturation in the United States, of which Paternity Test (Self-portrait with Parents), is an example.

321

3 21

TAVARES STRACHAN

b. 1979

Where, What, When (Dislocated remnants from simultaneous events #8 and #9, Providence, RI), 2006 Wooden shelves, found wooden window frames with metal fixtures and Plexiglas.

39 3/4 x 29 5/8 x 12 in. (101 x 75.2 x 30.5 cm) each element; 39 3/4 x 65 3/4 x 12 in.

(101 x 167 x 30.5 cm) overall.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Pierogi, New York EXHIBITED New York, Pierogi, Factitious, June 23 - July 31, 2006

322

322

DAVID HAMMONS

b. 1943

The Holy Bible: Old Testament, 2002 Book with leather bound cover. 10 3/4 x 2 3/8 x 13 3/8 in. (27.3 x 6 x 34 cm). Signed “David Hammons” and numbered of 165 inside front cover. This work is from an edition of 165.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Hand/Eye Projects, London

323

NANCY RUBINS

b. 1952

Hot Water Heaters and Wire, 1993 Installation comprised of nine found water heaters, wire, insulation, pipe fittings and electrical wire. 72 x 64 x 61 in. (182.9 x 162.6 x 154.9 cm) as installed.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired directly from the artist

3 24

BRIAN ALFRED

b. 1974

Kami/Kaze, 2003 Acrylic on canvas. 72 x 95 in. (182.9 x 241.3 cm). Signed, titled and dated “Alfred ‘Kami/Kaze’ 2003” on the stretcher bar.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Max Protetch, New York EXHIBITED New York, Max Protetch, Brian Alfred, March - April 2003

325

CAMERON MARTIN

b. 1970

Untitled (095), 2000 Oil on canvas. 53 1/8 x 40 in. (134.9 x 101.6 cm). Signed, titled and dated “Cameron Martin Untitled (095) 2000” on the reverse.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Kevin Bruk Gallery, Miami

326

McDERMOTT & McGOUGH

b. 1952 and 1958

Turned-Down Collar. 1928., 1989 Oil on paper in handblown glass frame. 27 1/2 x 35 1/2 in. (69.9 x 90.2 cm). Signed and titled “Messers McDermott and McGough 1928” lower right.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Sperone Westwater, New York

3 27

MATTHEW BRANNON

b. 1971

Two works: The last thing you remember was staring at the little white tile (Hers) and The last thing you remember was staring at the little white tile (His), 2006 Letterpress on paper. 24 x 18 in. (61 x 45.7 cm) each. Signed, dated and numbered “1/1 Matthew Brannon 2006” on the reverse. These works are numbered one from an edition of one.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE David Kordansky Gallery, Los Angeles EXHIBITED Berlin, Jan Winkelmann, Matthew Brannon - Hyena, April 29 - June 3, 2006

328

ROBERT MELEE

b. 1966

Not Sure, 2006 Plaster, enamel and canvas on wood. 67 1/2 x 26 x 19 1/2 in. (171.5 x 66 x 49.5 cm).

Signed and dated “Robert Melee 2006” on the underside.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Acquired directly from the artist

329

JIM SHAW

b. 1952

The Birth of a Notion, 2003 Oil on canvas. 72 1/4 x 48 1/8 x 2 1/2 in. (183.5 x 122.2 x 6.4 cm). Signed and dated “Jim Shaw 03” on the stretcher bar.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Bernier/Eliades Gallery, Athens EXHIBITED Athens, Bernier/Eliades Gallery, Jim Shaw, April 19 - May 31, 2003

330

AARON SPANGLER

b. 1971

A Little Indian, 2005 Carved and painted maple. 12 x 7 x 8 in. (30.5 x 17.8 x 20.3 cm).

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Zach Feuer Gallery (LFL), New York

3 31

AARON SPANGLER

b. 1971

The Hideaway, 2005 Carved and painted maple. 48 x 60 in. (121.9 x 152.4 cm)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Zach Feuer Gallery (LFL), N ew York

332

332

333

IONA ROZEAL BROWN

b. 1966

333

MARILYN MINTER

b. 1948

blackface #47, 2003

Untitled (from Fun House Mirror Series), 1991

Acrylic and ink on paper. 50 x 38 in. (127 x 96.5 cm). Signed, titled and dated “Iona

Silkscreen dry mounted on foam core board. 24 x 55 3/4 in. (61 x 141.6 cm) image

Brown blackface #47 2003” on the reverse.

size. Signed and dated “MMinter 1991” lower right.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Caren Golden Fine Art, New York; Private collection, Miami

PROVENANCE Private Collection

334

MANUEL OCAMPO

b. 1965

Peu de Chiens (Few Dogs), 1991 Oil on canvas in the artist’s wooden frame. 75 1/4 x 83 3/8 in. (191.1 x 211.8 cm).

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Fred Hoffman Gallery, Santa Monica

335

JITISH KALLAT

b. 1974

Analgesic Studies #18, 2005 - 2007 Acrylic, oil, glitter and felt-tip pen on board. 27 x 19 1/8 in. (68.6 x 48.6 cm). Signed, titled and dated “-Jitish Kallat-Analgesic Studies-18, (2005-07)” upper left and again on the reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Private Collection

336

JITISH KALLAT

b. 1974

Analgesic Studies #17, 2005 - 2007 Acrylic, oil, glitter and felt-tip pen on board. 27 x 19 1/8 in. (68.6 x 48.6 cm). Signed, titled and dated “-Jitish Kallat-Analgesic Studies-17, (2005-07)” upper right and again on the reverse.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Private Collection

337

3 37

JANIS AVOTINŠ

b. 1981

338

MATT SAUNDERS

b. 1975

While, 2005

UDO (5 drawings) # 14, 2004

Acrylic on linen. 8 x 7 in. (20.3 x 17.8 cm). Signed, titled and dated “Janis Avotins

Ink on mylar. 5 7/8 x 7 in. (14.9 x 17.8 cm) each; 5 7/8 x 35 3/4 in. (14.9 x 90.8 cm)

‘While’ 2005” on the overlap.

overall. Each initialed and dated “MS 2004” lower right; signed, titled and dated

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

“Matt Saunders UDO (5 drawings) #14 2004” on the reverse of the backing board.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Ibid Projects, London PROVENANCE Grimm/Rosenfeld, New York

338

339

MARCEL DZAMA

b. 1974

I hear a army, 2004 Oil on linen. 16 1/8 x 20 in. (41 x 50.8 cm). Signed “Marcel Dzama” lower right; initialed, titled and dated “MD I hear a army 2004” on the stretcher bar.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Galleri Magnus Karlsson, Stockholm

340

DAN ATTOE

b. 1975

Two works: Arrest and Field of indecision, 2002 and 2003 Oil on board. 5 x 7 1/8 in. (12.7 x 18.1 cm) and 5 1/8 x 7 in. (13 x 17.8 cm). Signed, titled and dated “Arrest Dan Attoe 2002” on the reverse and signed, titled and dated “Field of indecision Dan Attoe 2003”on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Gifted by the artist to the present owner

3 41

WILL COTTON

b. 1965

Insatiable, 1996 Oil on canvas. 56 1/4 x 84 in. (142.9 x 213.4 cm). Signed and dated “William Cotton 1996” on the overlap.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Daniel Silverstein Gallery, New York

342

343

3 42

TODD NORSTEN

b. 1967

Gap Tooths, 2005 Oil on canvas. 66 x 54 in. (167.6 x 137.2 cm). Signed, titled and dated “Todd Norsten Gap Tooths 2005” on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Cohan and Leslie, New York

343

TODD NORSTEN

b. 1967

You Fuckers, 2005 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed, titled and dated “Todd Norsten You Fuckers 2005” on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Cohan and Leslie, New York

344

JIM SHAW

b. 1952

Two works: Dream Drawing (Batman and Superman are caught in an atomic explosion) and Dream Drawing (Then I’m Walking on an Urban Street), 1993 Graphite on paper. 12 x 9 in. (30.5 x 22.9 cm) each. Each signed, titled and dated “Jim Shaw-‘93 (Dreamed ‘87)” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Private collection, Miami

345

HENRY MOORE

1898 - 1986

Studies for Sculpture/Seated and Reclining Figures, 1981 Crayon, pastel, wash, conte, Chinagraph and gouache on paper.

10 3/4 x 12 in. (27.3 x 30.5 cm). Signed “Moore” lower left.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Galerie Beyeler, Basel; The Greenberg Gallery, St. Louis

346

HENRY MOORE

1898 - 1986

Studies for Sculpture, 1960 Graphite, crayon and gouache on paper. 11 3/8 x 9 3/8 in. (28.9 x 23.8 cm). Signed and dated “Moore 60” lower left.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Marisa del Re Gallery, New York; The Greenberg Gallery, St. Louis

3 47

MARK LOMBARDI

1951 - 2000

Joe Russo & associates, 2000 Graphite on paper. 8 1/2 x 11 in. (21.6 x 27.9 cm). Signed and dated “ML © 2000” on the reverse; titled “Joe Russo & associates” upper right.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Pierogi, New York

348

MARK LOMBARDI

1951 - 2000

Raul & Carlos Salinas, 1999 Graphite on paper. 9 x 12 in. (22.9 x 30.5 cm). Signed and dated “ML © 1999” on the reverse; titled “Raul & Carlos Salinas” lower right.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 PROVENANCE Pierogi, New York

3 49

(i)

(ii)

(iii)

(iv)

MARCEL DZAMA

b. 1974

Four works: Untitled; Untitled; Untitled-Camera and Untitled-The Robot Loved Her, 2001 Ink and watercolor on paper. 10 7/8 x 8 1/2 in. (27.6 x 21.6 cm) - 13 x 10 1/8 in.

(33 x 25.7 cm). Each signed “Marcel Dzama” on face.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE (i), (ii) Artcore Gallery, Toronto; (iii), (iv) Olga Korper Gallery, Toronto

(i)

(ii)

(iii)

350

McDERMOTT & McGOUGH

b. 1952 and 1958

Three works: (i) The Primeval Visitation of Mathuew to Haines Falls, (ii) The Primeval Visitation of Paul to the Falls of Niagara, (iii) The Primeval Visitation of Simon to Kaaterskill Falls, 1985 Oil on linen. (i) 84 x 21 in. (213.4 x 53.3 cm); (ii) 46 1/4 x 63 1/2 in. (117.5 x 161.3 cm); (iii) 86 1/4 x 21 in. (219.1 x 53.3 cm). Each signed “McDermott & McGough” and titled on face.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Lucio Amelio, Naples; Private collection, Boston

351

3 51

YOSHITOMO NARA

b. 1959

Untitled (twins), 2000 Colored pencil and graphite on line-ruled paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).

Signed and dated “Yoshitomo Nara 2000” lower right.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Kantor Gallery, Los Angeles

352

3 52

AYA TAKANO

b. 1976

Cyber-ero Clothes, 1997 Ink and watercolor on paper. 9 3/4 x 7 in. (24.8 x 17.8 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Teplitzky & Scott Fine Art, Denver; Private collection, Bangkok

Artwork ©1997/Aya Takano/Kaikai Kiki Co. Ltd., All Rights Reserved

353

Artwork ©2003/Mr./Kaikai Kiki Co. Ltd., All Rights Reserved

354

353

MR.

b. 1969

354

YOSHIMOTO NARA AND DAVID SHRIGLEY

b. 1959 and 1968

Iya chigau, 2003

Untitled (Sniff Sniff), 2002

Graphite, ink, acrylic, found adhesive stickers, McDonald’s barbecue sauce

Colored pencil and felt-tip pen on paper. 10 1/4 x 9 1/8 in. (26 x 23.2 cm). Signed

packet, molded plaster and mounted wooden beam on panel. 16 3/8 x 13 3/8 x 2 in.

and dated “DS Nara 2002” on the reverse.

(41.6 x 34 x 5.1 cm). Signed and dated “Mr. 2003” on the reverse.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Stephen Friedman Gallery, London; Private collection; Bangkok PROVENANCE Teplitzky & Scott Fine Art, Denver; Private collection, Bangkok

355

355

SEAN LANDERS

b. 1962

# 1 Dad, 1999 Gouache and graphite on paper. 11 1/4 x 8 1/2 in. (28.6 x 21.6 cm). Signed and dated “Sean Landers 1999” lower right; titled “#1 Dad” on the reverse.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Andrea Rosen Gallery, New York

356

356

CHRISTIAN SCHUMANN

b. 1970

Good Sport, 1999 Acrylic on canvas. 58 x 44 1/8 in. (147.3 x 112.1 cm). Signed, titled and dated “Christian Schumann Good Sport March 1999” on the overlap.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Postmasters, New York EXHIBITED New York, Postmasters, Christian Schumann: New Paintings, May 8 - June

12, 1999; Hartford (Connecticut), Wadsworth Atheneum Museum of Art, Here’s Looking at You, August - December 1999 LITERATURE J. Saltz, “Pattern & Dissipation,” Village Voice, June 15, 1999; J. Saltz,

“Pattern & Dissipation,” Artnet Magazine (online content), June 22, 1999 (illustrated); M. Henry “Gotham Dispatch,” Artnet Magazine (online content), June 24, 1999 (illustrated)

3 57

LARI PITTMAN

b. 1952

Untitled, 2004 Alkyd, acrylic and enamel on gessoed canvas. 52 x 40 in. (132.1 x 101.6 cm).

Signed and dated “Lari Pittman 2004” on the reverse.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 PROVENANCE greengrassi, London; Gladstone Gallery, New York EXHIBITED London, greengrassi, Lari Pittman: Recent Works, October 7 - November 13,

2004; Nice, Villa Arson, Lari Pittman, February 26 - May 22, 2005

358

JESSICA STOCKHOLDER

b. 1959

Made of Two Elements, 1990 Wood, cloth, clothes line, wire mesh, oil, enamel and acrylic paint, three green light bulbs and light fixture, Styrofoam, carpet, newspaper, magazines, glue, metal, street lamp shade and hardware. 38 x 31 x 112 in. (96.5 x 78.7 x 284.5 cm).

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Tanya Bonakdar Gallery, New York

359

ADAM McEWEN

b. 1965

Love Toll-Free, 2006 24 1/8 x 38 1/8 in. (61.3 x 96.8 cm). Signed and dated “Adam McEwen 2006” twice on the stretcher bar and overlap.

Estimate $ 7, 0 0 0 - 9 , 0 0 0 PROVENANCE Nicole Klagsbrun, New York; Jack Hanley Gallery, San Francisco EXHIBITION San Francisco, Jack Hanley Gallery, My Mistake, April 18 - May 2, 2006

360

JESSICA STOCKHOLDER

1991

August, 1991, 1991 Installation comprised of found wood, metal bracket and screws, stapled leather strips, painted papier-mâché, glue, glass blocked pedestal and lamp.

54 x 22 1/2 x 11 1/2 in. (137.2 x 57.2 x 29.2 cm) overall as installed.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 PROVENANCE Jay Gorney Modern Art, New York

361

3 61

CHRISTIAN SCHUMANN

b. 1970

362

STERLING RUBY

b. 1972

Flammatory Rocking Horse, 1997

Untitled Craft Geometry Study #3, 2005

Acrylic, gouache, graphite and watercolor on paper. 26 x 40 in. (66 x 101.6 cm).

Collaged inkjet print and felt-tip pen on archival paper. 13 x 19 in. (33 x 48.3 cm).

Initialed and dated “CS 5.97” lower right; signed, titled and dated “Christian

Signed and dated “Sterling Ruby 05” lower right.

Schumann May 1997 Flammatory Rocking Horse” on the reverse.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Foxy Production, New York PROVENANCE Postmasters, New York

362

363

363

ROBERT COLESCOTT

b. 1925

364

ROXY PAINE

b. 1966

Amore (Love), 1989

Scumak, 2007

Painted and glazed ceramic. 12 1/2 in. (31.8 cm) diameter. Signed and dated

Low density polyethylene. 14 x 28 x 27 in. (35.6 x 71.1 x 68.6 cm).

“R. Colescott 1989” lower left; inscribed “Amore” on the reverse.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE James Cohan Gallery, New York; Private collection, USA PROVENANCE Private collection, Tuscon

364

INDEX

Aitken, D. 229 Alfred, B. 324 Almond, D. 228 Alÿs, F. 187 Andre, C. 121 Araki, N. 213 Armleder, J. 104 Artschwager, R. 12 Attoe, D. 340 ¸ J. 337 Avotinš, Baechler, D. 301 Balkenhol, S. 189 Banksy 28 Barney, M. 107, 143, 239 Bas, H. 41 Basquiat, J.M. 158, 307 Bell, L. 11 Bleckner, R. 303 Bove, C. 277 Brannon, M. 327 Brown, C. 265 Brown, I.R. 332 Bujnowski, R. 193 Cang, X. 211, 212 Cecchini, L. 298 Clemente, F. 165 Close, C. 133 Colescott, R. 363 Condo, G. 27, 306 Core, S. 108 Cotton, W. 341 Cragg, T. 31, 127 Crewdson, G. 110, 241 Damasceno, J. 171 Davis, G. 302 de Balincourt, J. 39 de Kooning, W. 159, 161 Dr. Lakra 168 Dunham, C. 40, 308 Dzama, M. 339, 349 Eder, M. 252 Eliasson, O. 5, 24, 227 Emin, T. 38 Fang, L. 198 Federle, H. 174, 175 Feng, M. 206 Feng, Z. 42 Fleury, S. 36 Floyer, C. 313 Förg, G. 176 Francis, S. 286 Friedman, T. 216 Fuss, A. 134 Gallagher, E. 253 Gilbert & George 10 Goldin, N. 215 Goldstein, J. 25 Goldsworthy, A. 163 Gonzales, W. 314, 315 Gonzalez-Torres, F. 6 Gorky, A. 160 Grotjahn, M. 103 Grünfeld, T. 275 Guyton\Walker 1 Hafif, M. 185 Hai, B. 202, 203 Halley, P. 128, 130 Hammons, D. 322 Handforth, M. 3 Haring, K. 281 Havekost, E. 194 Hebert, T. 319 Herrera, A. 251 Hesidence, D. 279 Hirst, D. 129 Hodges, J. 124, 246 Horn, R. 295 Hua, J. 207 Hylden, N. 178, 179

Jacquette, J. 257 Jensen, A. 291 Jensen, S. 177, 186 Judd, D. 297 Kallat, J. 335, 336 Kawashima, H. 310 Kelley, M. 117, 120 Kentridge, W. 126 Kilimnik, K. 125 Kim, J. 222 Koh, T. 123 Koons, J. 7 Kusama, Y. 9 LaChapelle, D. 37, 111 Lambie, J. 109 Landers, S. 276, 355 Lasker, J. 271 Lawler, L. 113 Levine, S. 30 Lewitt, S. 13, 283, 284, 285 Lin, T. 200, 201 Lombardi, M. 258, 259, 347, 348 Longo, R. 4 Lucas, S. 219 Lux, L. 240 Maier-Aichen, F. 243 Manglano-Ovalle, I. 320 Mariani, C.M. 191 Martin, A. 149 Martin, C. 325 McCarthy, P. 232, 233, 234 McCracken, J. 15, 105 McDermott & McGough 326, 350 McEwen, A. 359 McGinness, R. 274, 282 Meckseper, J. 181 Meese, J. 188 Melee, R. 328 Minter, M. 140, 333 Mirra, H. 182, 183 Moore, H. 345, 346 Mr. 312, 353 Muniz, V. 217, 218 Nara, Y. 26, 351 Nara, Y. & Shrigley, D. 354 Nash, D. 164 Navarro, I. 101 Neuenschwander, R. 166 Nitsche, F. 184, 190 Noble, T. & Webster, S. 20, 21, 131 Norsten, T. 342, 343 Nozkowski, T. 260 Ocampo, M. 334 Oehlen, A. 29 Opie, J. 132, 150 Orozco, G. 169 Oursler, T. 142 Paine, R. 147, 364 Parker, E. 309 Parrino, S. 139 Paul P. 256 Pettibon, R. 118, 146, 249, 250, 264 Pettibone, R. 288, 289 Pittman, L. 357 Polke, S. 172, 173 Prince, R. 8, 235, 236

Rauschenberg, R. 290 Reyle, A. 22, 114 Rhoades, J. 138 Richter, D. 261 Richter, G. 112 Rickey, G. 122 Roberts, J. 311 Rosenquist, J. 19 Rubins, N. 323 Ruby, S. 102, 362 Ruff, T. 141 Ruppersberg, A. 292 Ruscha, E 14, 17 Rusconi, P. 119 Salcedo, D. 167 Salle, D. 287, 305 Sandback, F. 32 Saunders, M. 338 Scharf, K. 304, 318 Schorr, C. 220 Schumann, C. 356, 361 Seliger, J. 316, 317 Serrano, A. 237, 238 Shaw, J. 329, 344 Sherman, C. 221 Shi, G. 199 Shi, L. 209 Sikander, S. 278 Simmons, L. 223 Simpson, L. 245 Smith, J. 144, 145 Smith, K. 299 Smith, T. 294 Snow, D. 2, 106 Spangler, A. 330, 331 Stockholder, J. 269, 358, 360 Strachan, T. 321 Strunz, K. 35 Sugimoto, H. 214 Sultan, D. 300 Syed, S. 270 Taaffe, P. 262, 263 Tait, N. 268 Takano, A. 352 Tal R 254 Thiel, F. 242 Tillmans, W. 230, 231 Trockel, R. 115 Tuttle, R. 293, 296 Tuymans, L. 192 Tyson, K. 23, 137, 273 Vaisman, M. 170 van Empel, R. 224 Vilmouth, J.L. 244 Vitali, M. 225, 226 von Wulffen, A. 266, 267 Walker, K. 34 Walsh, D. 33 Wang, J. 204 Wang, J. & Zhang, D. 195 Wang, Q. 210 Warhol, A. 16, 18, 151, 152, 153, 154, 155, 156, 157 Waters, J. 136 Webster, S. & Noble, T. 20, 21, 131 West, F. 148, 162 Wiley, K. 255 Williams, S. 116, 280 Woods, R. 272 Wool, C. 135, 247, 248 Ye Y.

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Zhang, D. 197 Zhang, D. & Wang, J. Zhang, H. 196 Zhu, J. 208 Zobernig, H. 180

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PHOTOGRAPHS AUCTION 14 NOVEMBER 2009 10am & 1pm Viewing 7 – 13 November

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

GAVIN BOND Redemption, 2008 Estimate $10,000-15,000

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success.

However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates In Pounds Sterling And Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition Of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical And Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful.

∆ Property In Which Phillips De Pury & Company Has An Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

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2 BIDDING IN THE SALE Bidding At Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid.

BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential.

Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

DESIGN AUCTION 14 NOVEMBER 2009 4pm Viewing 7 – 14 November

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

SHIRO KURAMATA “Acrylic Stool,” 1990 Estimate $70,000-90,000

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots.

Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.

Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company.

Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

MODERN & CONTEMPORARY EDITIONS AUCTION 15 NOVEMBER 2009 12pm Viewing 7 – 14 November

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com Various artists, all reproductions are details.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report.

All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion.

Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid.

Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 CONDUCT OF THE AUCTION each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks.

As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours.

As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of

such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers

by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded

by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for

Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 LAW AND JURISDICTION (a) ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that

none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

PHILLIPS de PURY & COMPANY

Chairman

Senior Partners

Advisory Board

Simon de Pury

Michael McGinnis

Maria Bell

Dr. Michaela Neumeister

Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Partners

Lapo Elkann

Aileen Agopian

Ben Elliot

Sean Cleary

Lady Elena Foster

Alexander Payne

H.I.H. Francesca von Habsburg

Rodman Primack

Marc Jacobs

Olivier Vrankenne

Malcolm McLaren

Tiffany Wood

Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street NewYork NY 10011 USA

C/O Pro First 15 Rue de la Paix 75002 Paris France

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

+33 1 42 78 67 77 +33 1 42 78 23 07 fax

+49 30 880 018 42 +49 30 880 018 43 fax

LONDON

MUNICH

GENEVA

Howick Place London SW1P 1BB United Kingdom

Maximiliansplatz 12a 80333 Munich Germany

23, quai des Bergues 1201 Geneva Switzerland

+44 20 7318 4010 +44 20 7318 4011 fax

+49 89 238 88 48 0 +49 89 238 88 48 15 fax

+41 22 906 80 00 +41 22 906 80 01 fax

SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART NEW YORK

MODERN AND CONTEMPORARY EDITIONS NEW YORK

+1 212 940 1254

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Aileen Agopian, New York Director

+1 212 940 1255

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Jean-Michel Placent

+1 212 940 1263

Jannah Greenblatt

+1 212 940 1332

Timothy Malyk

+1 212 940 1258

Joy Deibert

+1 212 940 1333

Chin-Chin Yap

+1 212 940 1250

Sarah Mudge, Head of Part II, New York

+1 212 940 1259

Roxana Bruno

+1 212 940 1229

Sara Davidson

+1 212 940 1262

Nazgol Jahan, Worldwide Director

+1 212 940 1283

+1 212 940 1261

Carmela Manoli

+1 212 940 1302

Heather Zises

+1 212 940 1290

Michael McGinnis, Worldwide Director

Maria Bueno Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

Eugenia Ballvé

+1 212 940 1303

LONDON Anthony McNerney, Head of Evening Sale, London

+44 20 7318 4067

Peter Sumner, Head of Day Sale, London

+44 20 7318 4063

Laetitia Catoir

+44 20 7318 4064

Silke Taprogge

+44 20 7318 4012

Ivgenia Naiman

+44 20 7318 4071

Fiona Biberstein

+44 20 7318 4013

Siobhan O’Connor

+44 20 7318 4093

Catherine Higgs

+44 20 7318 4089

Raphael Lepine

+44 20 7318 4078

Tanya Tikhnenko

+44 20 7318 4065

Sarah Buchwald

+44 20 7318 4085

Phillippa Willison

+44 20 7318 4070

DESIGN NEW YORK Marcus Tremonto

+1 212 940 1268

Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Stephanie Abraitis

+1 212 940 1268

LONDON Alexander Payne, Worldwide Director

+44 20 7318 4052

Ben Williams

+44 20 7318 4027

Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

JEWELRY NEW YORK

GENEVA Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 05

LONDON Lane McLean

+44 20 7318 4032

THEME SALES Tiffany Wood, Worldwide Director NEW Corey Barr, New York Manager Anne Huntington Stephanie Max Steve Agin, Consultant

+49 30 880 018 42 YORK +1 212 940 1234 +1 212 940 1210 +1 212 940 1301 +1 908 475 1796

LONDON Tobias Sirtl, London Manager

+44 20 7318 4095

Arianna Jacobs

+44 20 7318 4054

George O’Dell

+44 20 7318 4040

CHAIRMAN LONDON Rodman Primack +44 20 7318 4017 MANAGING DIRECTORS Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PRIVATE SALES Christina Scheublein +1 212 940 1248

PARIS Johanna Frydman

+33 1 42 78 67 77

PHOTOGRAPHS NEW YORK

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES

Vanessa Kramer, New York Director

+ 1 212 940 1243

Berlin & Munich Dr. Michaela Neumeister

Shlomi Rabi

+ 1 212 940 1246

Brussels & Paris Olivier Vrankenne

+32 486 43 43 44 +33 6 85 53 92 03

+49 89 238 88 48 10

Caroline Shea

+ 1 212 940 1247

Paris Leonie Moschner

Sarah Krueger

+ 1 212 940 1245

London Ivgenia Naiman

+44 20 7318 4071

Charlie Scheips, International Consulting Director

+ 1 212 940 1245

Brooke de Ocampo

+44 777 551 7060

Carol Ehlers, Consultant

+ 1 212 940 1245

Los Angeles Mimi Won Techentin

LONDON Lou Proud

+44 20 7318 4018

Maya McLaughlin Milan Laura Garbarino

+1 310 600 9192 +1 323 791 1771 +39 339 478 9671

Sebastien Montabonel

+44 20 7318 4025

Eugenia Bertelè

+39 02 3669 5895

Alexandra Bibby

+44 20 7318 4087

Moscow Svetlana Marich

+7 495 225 88 22

Helen Hayman

+44 20 7318 4092

Shanghai/Beijing Jeremy Wingfield

+86 135 0118 2804

SALE INFORMATION

AUCTIONS Part I Sale, Thursday November 12 2009 at 7pm Part II Sale, Friday November 13 2009 at 10am & 2pm VIEWING Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 12pm VIEWING & AUCTION LOCATION 450 West 15 Street New York NY 10011 SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as NY010409 or Contemporary Art Part I Sale and NY010509 or Contemporary Art Part II Sale.

WORLDWIDE DIRECTOR Michael McGinnis +1 212 940 1254 NEW YORK DIRECTOR Aileen Agopian +1 212 940 1255 SPECIALISTS Jean-Michel Placent New York +1 212 940 1263 Timothy Malyk +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250 Sarah Mudge New York Head of Part II +1 212 940 1259 Dr. Michaela Neumeister Munich +49 89 238 88 48 10 Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Laura Garbarino Milan +39 339 478 9671 Leonie Moschner Paris +33 6 85 53 92 03 Brooke de Ocampo London +44 777 551 7060 Anthony McNerney Head of Evening Sale London +44 20 7318 4067 Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 20 7318 4064 Silke Taprogge London +44 20 7318 4012 Rodman Primack London +44 20 7318 4017 Ivgenia Naiman London +44 20 7318 4071 Fiona Biberstein London +44 20 7318 4013 Nadia Breuer Sopher New York & Australia +1 917 319 4741 Mimi Won Techentin Los Angeles +1 310 600 9192 Maya McLaughlin Los Angeles +1 323 791 1771 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 BUSINESS MANAGER Roxana Bruno +1 212 940 1229 CATALOGUER PART I Sara Davidson +1 212 940 1262 CATALOGUER PART II Maria Bueno +1 212 940 1261 ADMINISTRATOR PART I Peter Flores +1 212 940 1223 ADMINISTRATOR PART II (Uli) Zhiheng Huang +1 212 940 1288

Front Cover Andy Warhol, Brillo Box, 1964, Lot 16 (detail) Title Page Olafur Eliasson, 1m3 light, 1999, Lot 5 Back Cover Yayoi Kusama, Infinity Nets (T.W.A.), 2000, Lot 9 (detail)

ADMINISTRATOR Eugenia Ballve +1 212 940 1303 PROPERTY MANAGERS Jeffrey Rausch +1 212 940 1367 Barrett Langlinais +1 212 940 1362 PHOTOGRAPHY Kent Pell, Morten Smidt CATALOGUES Allyson Melchor +44 20 7318 4039 +1 212 940 1240 Catalogues $60 at the Gallery/£30 catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 CLIENT SERVICES +1 212 940 1200 SHIPPING Steve Orridge +1 Beth Petriello +1 Jennifer Brennan Robert Rogan +1

212 940 1370 212 940 1373 +1 212 940 1372 212 940 1374

PRINCIPAL AUCTIONEER Simon de Pury 0874341 AUCTIONEERS Aileen Agopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g., mmcginnis@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the Standard Terms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

CONTEMPORARY ART 12 & 13 NOVEMBER

CONTEMPORARY ART

2009 N EW YOR K NY 010 4 0 9/ NY 010 5 0 9

W W W. P H I L L I P S D E P U RY.C O M

12 & 13

NOVEMBER

2009

NEW YORK